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Saturday  June  3,1922 


FOURPENCE 


Vol.2  — No.52. 


The  Motion  Picture  Studio  Juno  3, 1922 


it 


A  Tense  Situation  From 

A  PRINCE  OF  LOVERS 

Being  the  Romance  of  LORD  BYRON 

The  Great  "British  Screencraft"  Production 
anticipated  to  be  the  finest  dramatic  film  yet  produced  in  England 


THE  MOTION  PICTURE  STUDIO 


June  3,  1922 


ARTISTES  IN  THE 


DOROTHY  FANE. 


‘‘Corinthian  Jack,”  -Laughter  and  Tears,’  ‘Bonnie 
Brier  Bush,”  ‘’Lost  Leader”  ” 'J  lnee  Liv’  Ghosts, 
“  Lonely  Lady  of  Grosvenor  Square,”  “  Creation. 


ALEC  G.  HUNTER, 

Character  Parts. 

Just  engaged  to  play  The  Dcgal  Crater  in 

“ROB  ROY” 

(Gaumont). 

AD  corns.  :  Kinema  Club,  Regent  2131. 


CECIL  MORTON  YORK, 

Aristocratic,  Strong,  Characters. 
During  the  past  year  played  important  parts 
in  12  big  productions,  including  “  In  His 
Grip  ”  and  “Autumn  of  Pride.” 

Now  engaged  for  Donald  Crisp  Production. 
All  coins.:  KINEMA  CLUB,  Reg.  2131. 

W  I  L  L  I  A  M  L  U  G  G  , 

Aristocratic,  Character  and  Comedy  Old  Men. 

12,  Heathfield  Gardens,  Chiswick,  W.4. 


EVA  LLEWELLYN, 

Character  Artiste. 

London,  Ideal,  Samuelson,  Barker,  Stoll, 
Welsh- Pearson  Companies. 

Engaged  to  play  Mother  in  “  ROB  ROY 
(Gaumont). 

All  corns.  :  39,  Gloucester  Gardens,  W.2, 


ARTHUR  WALCOTT. 

Character  Parts, 

57,  Church  Street.  Kensington,  W.8. 


M.  A.  WETHERELL 

LEADING  MAN  OR  DIRECTOR. 

RECENT  PICTURES: 

“The  Man  Who  Was  Afraid” x 
“  Swallow”  ....  African 
“  Vultures’  Prey”. 

“Sam’s  Kid”  .... 


Film 

Productions 


“A  Man  and  His  Kingdom” 
“Wee  MacGregor’s  Sweetheart’  . 


Stoll 

W  elsh-Pearson 


Address — KINEMA  CLUB,  9,  Gt.  Newport  Street,  W.C.2 

’Phone— Recent  2131. 


W.  A.  FRESHMAN 

Juvenile  Lead , 

“Fifth  Form  at  St.  Dominic’s 


and  Three  other  Films. 

Vide  Press  : — 

“  W.  A.  Freshman  has  a  more  difficult  part  in  the  character  of  Lomain 
.  .  .  it  is  a  most  unnatural  character,  and  it  is  impossible  to  make  very 
much  of  it,  but  at  least  Mr.  Freshman’s  ‘  Lomain  ’  is  a  more  human 
person  than  Talbot  Baines  Reed’s  ‘  Lomain,’  and  to  make  it  even  that  is 
an  achievement.” — The  Times. 

“  W.  A.  Freshman  is  a  great  find,  and  whoever  is  responsible  for  dis¬ 
covering  him  is  to  be  complimented.” — Motion  Picture  Studio. 

“  The  schoolbo}'  *  villain,’  W.  A.  Freshman,  does  his  thankless  part  with 
a  maximum  of  charm.” — Evening  News. 

"  W.  A.  Freshman  had  a  difficult  part  as  Lomain,  and  sometimes  it 
must  have  gone  against  the  grain,  though  he  went  through  the  ordeal 
finely.” — Films  Cinema  Trade  Journal. 


Two  years’  thorough  technical  experience  with  Gaumont. 

NOW  OPEN  TO  OFFERS. 

All  communications ,  The  Kinema  Club,  9,  Gt.  Newport  Street,  W.C.2. 


0 


JUNE  3,  1922 


Supplement  to  THE  MOTION  PICTURE  STUDI 


YEAR'S  PRODUCTIONS 


KNIGHTON  SMALL 

During  the  past  year  plaved  “The  Butler  “in 
“The  Fruitful  Vine,”  “Rank  Outsider”  and 
“  The  Scarlet  Lady.” 

Now  playing  “  Ihe  Butler  ’’  in 

“WHEN  GREEK  MEETS  GREEK’’ 

Speciality ;  Bank  Manager,  Doctor,  Clergy¬ 
man,  Butler,  and  parts  of  a  similar  character. 
All  Corns  : 

59,  Gloucester  Cres.,  Regents  Pk.,  N.W.5 

( Hampstead  889)  or  The  Kinema.Cluh  (Regent  2131). 


TERRY 

CAVANAGH 


24,  SPRING  STREET, 
HYDE  PARK,  W.2. 


HUGH  E. 
WRIGHT 

ACTOR 

and 

SCENARIST 

PLAYED  IN 

“The  Better  Ole’* 

Kiddies  in  the  Ruin.  ’ 

Victory  Derby  ’’ 

“  Garry  Owen  ’ 

‘  ‘  Nothing  Else  Matters” 

The  Corner  Man  ’ 

NOW  PLAYING  IN 

“A  SAILOR  TRAMP” 

( WELCH  PEARSON.) 

Address  : 

Mayfields,  Lowfield  Heath, 

CRAWLEY,  SUSSEX, 

or  Kinema  Club  (Regent  2131) 


HENRY 

VICTOR 


LEADS : 


u 


11 


Beyond  the  Dream  of  Avarice. 
“Diana  of  the  Crossways.” 
“Romance  of  Old  Bagdad.” 
“Sheer  Bluf  f.” 
“O  1  d  W  ives  T  al  e.” 

NOW  PLAYING  IN 


Alec  Alexander,  Jnr. 


Juvenile. 


Forthcoming  Releases. 

Larrazel  o  in  ‘  Maritana  ”  (Opera) 
Joseph  in  “It’s  Never  too  Late  to  "Mend.’’ 

Master  Froduc/ions. 

“  Mord  Em’ly  ”  (Welsh  Pearson) 

“  Rounded  Corners.” 

(G.  K.  Atthur  Production),  Etc. 

INVITES  IMMEDIATE  OFFERS 

All  Corns  : — 

163,  Hackney  Road,  E.?.  rufstonMss. 

or  KINEM  \  CLUB  Regent  2131. 


A  BILL  OF  DIVORCEMENT” 


(DENISON  CLIFT  PRODUCTION.) 


X 


Supplement  to  THE  MOTION  PICTURE  STUDIO 


June  3,  1922 


MAURICE  P.  THOMSON 

Stephen  Greenfield  in  A.  E.  Coleby’s  success,  “The  Fifth 
Form  at  St.  Dominic’s.”  (Granger-Davidson.) 

FILM  RENTER  says 

‘  . the  eagerness,  pluck  and  gallantry  of  Maurice 

Thomson  as  ‘Stephen  Greenfield'  are  almost  beyond 
praise,  so  excel  ent  was  the  performance.” 

Froggy  in  “  Froggy’s  Little  Brother,”  Directed  by  A.  E. 

Coleby.  (Stoll.) 

DAILY  MAIL  : — “Or  e  ol  the  greatest  child  actors  the  screen 
has  yet  fou  d. 

Jimmy  in  “  What  Love  Can  Do,”  Directed  by  W.  P.  Kellino. 

(Gaumont-W  estminster.) 

“  Chance  of  a  Lifetime/’  Directed  by  A.  E.  Coleby.  (Stoll.) 

“  Long  Odds,”  Directed  by  A.  E.  Coleby.  (Stoll.) 

Engaged  to  play  in  “Rob  Roy”  by  W.  P.  Kellino 

(Gaumont-W  estminster.) 

All  Communications  : — 

45,  Cavendish  Buildings,  Clerkenwell  Road, 

E.C.l 


PAULINE  JOHNSON 

is  now  playing 


‘A  SAILOR  TRAMP’ 

( W  elsh-Pearson ) 

and  Polly  in 

‘THE  CHRISTIAN’ 

(Goldwyn) 

All  communications  to  be  addressed  to  — 

Cumberland  House,  1,  Park  Lane,  Wembley.  ’Phone  :  Wembley  165. 


the  Girl  in 


Previous  leading 
parts  in 

“  Blanchette 

The  Wooing  of  April." 

“ The  Great  Gay  Road." 

“ Love  at  the  Wheel." 

“  The  Imperfect  Lover." 

“  Class  and  No  Class." 


June  3,  1922 


Supplement  to  THE  MOTION  PICTURE  STUDIO 


CHARLES  LEVEY 

15,  Stokenchurch  Street,  Fulham,  S.W.6. 

1920-1921 

PROGRESS  SEASONS, 

SHOREHAM  ~  BY  -  SEA 

(SIDNEY  MORGAN,  Director). 

“  Little  Dorrit,”  “  Two  Little  Wooden  Shoes,” 
“By  Berwen  Banks,”  “A  Man’s  Shadow,” 
“The  Mayor  of  Casterbridge,”  “The  Wooing 
of  April,”  “The  Lilac  Sunbonnet,”  and 
“A  Litt'e  World  Apart.” 


The  Two  Portaits  shewn  here  are  as 

Dr.  Sylvanus  Torphican 

IN 

A  Lowland  Cinderella 

“Charles  Levey  has  been  provided  with  a 
n art  tha  suits  him  ideally.  As  the  bad  uncle 
he  reveals  unquestioned  ability  and  histrionic 
powers,” — M.P.  Studio,  Dec.  24,  1921. 


CHARLES  LEVEY 


R.  JUDD  GREEN 

Leading  English  Character  Actor 
Permanent  Address:  — 

PARK  ROAD, 

TEDDINGTON, 

MIDDLESEX. 

Wires :  Judd  Green,  Teddington- 


Played  leading  Parts  for  The 
London  Film  Co.  (four  years  on 
the  Stock  Company),  Stoll, 
Hepwoith  Ideal,  Transatlantic, 
Barker,  Davidson,  Windsor, 
Famous  Pictures,  Famous  Players- 
Lasky,  British  Lion,  Progress, 
Masters  and  Walter  West. 


In  all  W.  W.  Jacobs  films  down 
to  “THE  MASTER  OF  CRAFT” 
produced  this  year. 

“J  think  your  rendering  of ,  Old 
Sans  in  The  Third  String  most 
admirable.  I  certainly  cannot 
suggest  any  improvement. 

14 Yours  faithfully  A 

W.  W.  Jacobs .” 


A  letter  from  Eden  Phillpotts,  Esq. 
author  of  “THE  FOREST  ON 
THE  HILL,”  was  full  of  compli¬ 
mentary  reference  to  the  per¬ 
formance  in  the  part  of  Lot  Snow,  in 
Hepworth's  great  production,  pro¬ 
nounced  by  the  Press  to  be  a 
triumph  of  English  Acting. 

“There  was  Judd  Green  in  a 
perfect  portrayal  of  the  hard¬ 
hearted  Lot  Suow.” — Daily  Ex¬ 
press 


A  few  of  the  latest  films  in  which 
Judd  Green  plays  leading  parts. 

THE  TIDAL  WAVE  —  Starred.  THE 
RESIDENT  PATIENT — (Sherlock  Holmes), 
THE  WHEELS  OF  CHANCE,  THE 
KNIGHT  ERRANT,  GENERAL  JOHN 
REGAN  (all  Stoll’s).  CLASS  JAND  NO 
CLASS — Starred,  (Gaumont).  MASTER  OF 
CRAFT,  (Ideal).:  KISSING  CUP  II.  (Walter 
West). 


A  few  abbreviated  extracts  from  the 
Critics  of  above  plays  :  — 

‘  ‘ J udd  Green  gives  a  vivid  character 
sketch  of  the  Mysterious  Patient.” 
— Bioscope.  “  Played  by  that 
excellent  actor  Judd  Green.” — 
Referee.  “A  fine  performance 
is  given  by  .Judd  Green” — The 
Times.  “Ail  Artist  to  his  finger¬ 
tips  — Stoll's  Weekly,  and  hun¬ 
dreds  of  others, 

ACTORS  ARE  ACTORS  AFTER  ALL. 
THE  TYPE  FOUNDRY  SUPPLIES  THE 
OTHER  ARTICLE. 


MALCOLM  TOD 


Leads  Completed  This  Year  : — 

Lieut  James  Burton,  R.N.,  ii  “The  Bachelor’s  Baby  ’ 
(Arthur  Rooke)  for  Granger-Davidson. 

Trade  Show,  New  Gallery,  June  15. 

Lord  George  Dereham  in  “Expiation’’  (Sinclair  H .11) 
for  Stoll.  To  be  shown  shortly. 

The  Thief  in  “The  Thief”  (George  A.  Cooper)  for 
Quality.  Trade  Show  shortly. 

DONALD 

NEVILLE 


JUVENILE  COMEDY  LEAD  for 

B.G.  Film  Productions,  Ltd. 

All  communications — 82,  St.  George’s  Road^ 
South  Belgravia,  S.W.  ’Phone  :  Victoria  2316 


111 


Supplement  to  THE  MOTION  PICTURE  STUDIO 


June  3,  1922 


KATHLEEN 

VAUGHAN 


INGENUE. 

Leads  in — - 

“CORINTHIAN  JACK” 
“SINGLE  LIFE” 

Arabella  Ann  in  “PICKWICK  PAPERS” 
Maudie  in  “  MAN  FROM  HOME  ” 
□ 

All  corns.:  KINEMA  CLUB, 

9,  GREAT  NEWPORT  STREET,  W.C.2. 

Refe.  2131 


EDWARD  O’NEILL 

LEAD  AND  CHARACTER. 

“  GENERAL  JOHN  REGAN  ”  “LARK'S  GATE,’  ‘  SHERLOCK  HOLMES.  ’ 
At  present  with  ALLIANCE  in  ‘ LOVE  AND  THE  WHIRL  WIND.  ’ 

Comrminications — 13,  The  Avenue,  St.  Margarets,  Twickenham. 


BERTIE 

WHITE 

(Silly  Ass  Parts) 

PLAYING  THE 
SILLY  ASS 

IN 

“Head  of  the  Family” 

(Artistic). 

LATEST  RELEASE: 

“Patricia  Brent, 

Spinster.” 

All  Corns.  Kinema  Club. 
Reg.  2131. 


OLAF  HYTTEN 


Who  plays  “ Jimmy’'  in 


“The  Wonderful  Story. 


1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1  p 

The  Press  says  : — 

“.  .  .  there  is  a  wonderful  acting-  scene  in 
which  you  are  made  to  feel  the  anguish  of 
the  young  husband  while  the  doctor  is 
upstairs.  In  an  outburst  of  emotion,  the 
younger  brother  appeals  to  Robert  to  take 
off  the  curse  .  .  .  Olaf  Hytten,  the  youneer 
brother,  is  well  known,  of  course,  as  a  film 
and  stage  actor.” — Daily  News  (May  26). 

“  ‘Jimmy  Martin,’  as  played  by  Olaf 
Hytten,  is  powerful  and  living.” 

Cinema  (May  25). 

“  ‘The  Wonderful  Story  ”...  affords  .  .  . 
opportunities  for  some  magnificent  acting 
on  the  part  of  .  .  .  Olaf  Hytten. 

News  of  the  World  (May  28). 

“  The  Wonderful  Story  ”...  certainly 
justifies  its  title,  and,  incidentally,  provides 
opportunities  for  some  magnificent  acting 
on  the  part  of .  .  .  Olaf  Hytten.” 

People  (May  28). 

DLAF  HYTTEN  leaves  for  the  Continent  on  June  5,  but 
vill  be  at  liberty  ■  at  the  end  of  June.  Kindly  address  all 
:cmmunications  to  the  Kinema  Club. 


iv 


June  3,  1922 


Supplement  to  THE  MOTION  PICTURE  STUDIO 


MAX  ROMA’S  AGENCY 

3,  Wardour  St., 


w.i. 


’PHONE— 

DAY  — Regent  3282 
NIGHT — Hampstead  3948 


“  23  years’  experience  in  the 
entertainments  industry.” 


NINA  GRUGEON. 

Just  concluded  lead  “  Paquita,” 
CAPT.  KETTLE  FILM. 

All  corns.  :  MAX  ROMA  AGENCY. 

3,  WARDOUR  ST.,  W.I. 

'PKnr»#»  DAY-Regent  3282. 
rnone.  NIGHT -Hampstead  3948. 


Miss  LAURA 
SMITHSON 

Strong  Character  and 
Comedy. 

Fully  Experienced  Artist. 


ELSIE 

PRESCOTT 

Strong,  Emotional, 
Character  &  Comedy. 


Fanatic — 

“Glorious  Adventure. 

||l  Charwoman — 

“  Mammy’s  Arms.” 

-  K  Gipsy  Hag  in 

L#  11  ®°^ern'an 


WHO’S  WHERE. 

Several  directors  nave  explained  to  us 
the  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suSoest;ed  that  we  publish  addresses  and 
telephone  numbers  of  such. 

ADELAIDE,  GRACE  :  103,  Morshead  Man¬ 
sions,  Maida  Vale,  W.9. 

ATWOOD,  ALBAN :  25,  Stanley  Crescent 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
SW.  11.  Battersea  21. 

BOSCO,  WALLACE,  97,  Kingsway,  East 
Sheen,  S.W.  14. 

BROOK,  CLIVE  :  12,  Abercorn  Place* 

N.W.  Hampstead  3083. 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS.  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ESMOND,  ANNIE ;  43,  Richmond  Road, 
Westbouine  Grove,  W.2.  Park  854. 

FORD,  BERT  :  19,  Wvke  Gardens,  Stock- 
well,  London,  S.W. 9. 

FANE,  DOROTHY  :  12A,  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 

LE  BRETON,  FLORA  :  care  of  Kinema 
Club,  9,  Gt.  Newport  St.  Reg.  2131. 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns., 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  4,  Northwick 
Terrace,  St.  John’s  Wood  Road.  N.W.  8, 

NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

RAYMOND,  JACK:  53,  Coldharbour  Lane, 
Camberwell,  S.E.5. 

RAYNER,  MINNIE  :  Kingwater  Cottage, 
Churcu  Walk,  Thames  Ditton. 

ROME,  STEWART:  10,  Chisholme  Road, 
Richmond,  Surrey. 

SEARLE  DONALD:  all  corns.  Kinema  Club, 
Regent  2123. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres^ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL  :  62,  Upper 

Richmond  Road,  East  Putney,  S.W.  15, 
or  Kinema  Club. 

STEERMAN  A.  HARDING  :  56  Portland 
Road,  W.i  1.  Park  2529. 

STERROLD,  GERTRUDE:  14.  Queen’s 
Road.  St.  John’s  Wood,  N.W.8. 

TREE.  MADGE  :  15,  Lancaster  Court,  New¬ 
man  St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Road, 
Barnes,  S.W.  13.  Putney  1945. 

Two  lines,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a  year,  prepaid. 

Extra  lines,  is.  per  insertion- 


KATE  GURNEY. 

Character. 

“CREATION,’ 
“SAILOR  TRAMP” 
(The  Mother), 

‘A  ROGUE  IN  LOVE” 
(Mrs.  Jemkison). 

All  corns.  : 

8,  Moor  Street,  Charing  Cross  Road 

Gerrard  6471, 

or  The  Kinema  Club,  Reg.  2  131. 

CHAS)  ASHTON. 


STUDIOS 

107  ft.  by  27  ft.,  and  35  ft.  high,  together 
with  exceptional  residential  accommodation, 
comprising  three  reception  rooms  respec¬ 
tively  38  ft.  by  21  ft.,  28  ft.  9  in.  by  21  ft., 
and  22  ft.  by  15  ft.  6  in.,  five  bedrooms,  etc. 

Standing  in  grounds  120  ft.  by  210  ft.,  in 
excellent  secluded  surroundings,  with  goed 
LLGH1'  FACILITIES;  well  set  back  from  the 
road,  and  in  main  ’  thoroughfare,  within 
short  distance  of  Hyde  Park,  and  easy  , 
access  io  all  parts  of  London. 

Lease  69  Years, 
Ground  Rent  £100  Per  Ann. 

Will  be  sold  by  Auction  (unless  previously 
sold  by  private  treaty),  on 

Friday,  June  16,  at  2.30, 
at  the  London  Auction  Mart,  155,  Queen 
Victoria  Street,  E  CM. 

Particulars  and  plan  from  the  Auctioneers, 
Snell  &  Co.,  Blomfield  Crt.,  Maida  Yale,  \\  .9. 


( JUVENILE  &  CHARACTER.) 

During  one  year  played  important  part*  in  the  four 
W.  W.  Jacobs  Films  : — ‘‘Sam’s  Boy,”  ”  Will  and  A 
Way”  (lead),  “Master  of  Craft  ”  and  "Head  oi  the 
Family  ”  (lead), 

All  Corns  :  “Crantock,”  Hainault  Road,  Leytonstone 
also  Kinema  Club— Reg.  2131.  ' 


FRANK  STANM0RE, 

Artiste, 

33,  CHANDOS  STREET, 
W.C.2. 


JOAN  MORGAN. 

Starring  in 

“  Lowland  Cindere'la,  ’  “Swallow,” 

“  Dickie  Monteiih,”  “Lilac  Sunbonnet,’’ 
“  Little  World  Apart,”  “Truants.” 


4 


V 


Supplement  to  THE  MOTION  PICTURE  STUDIO 


June  3  1922 


TONY 

FRASER 


Leads  : — 

SHIRE  ALI  in  “  Broken  Road.” 

‘  ‘  Tony  Fraser  has  the  only  part  in  which  there  is  any  clear 
definition  or  development  of  character,  and  fills  the  part 
efficiently.” — Kine.  Weekly. 

“Acting  honours  fall  to  Tony  Fraser.” — M-  P .  Studio. 

ABOU  FATMA  in  “  Four  Feathers.” 

“  He  is  well  supported  by  the  rest  of  the  cast,  including 
Tony  Fraser.” — Kine ■  Weekly. 

LO  K.1  (Crippled  Chinaman)  in  “  Cocaine.” 

“  A  choice  cameo  is  the  performance  of  Tony  Fraser  .... 
this  is  a  triumph  of  make-up  ....  his  acting  is  of  a 
very  fine  quality.” — M.  P.  Studio. 

“  The  best  performance  in  the  film  is  that  of  the  unnamed 
actor  who  plays  the  part  of  Lo  Ki.” — The  Cinema. 

“  ...  .  Tony  Fraser  is  consistently  good,  and  gives  a 
brilliant  rendering  of  a  difficult  part.” — Kine  Week  y.’’ 

Open  for  Offers 

18 ,  Leinster  Sq 

W.2. 


The  Kinema  Cluh, 
9,  Gt.  Newport  St.,  W.C.2. 
Reg.  -  2131 


Tony  F  RASER 


FLORA 

LE 

BRETON 


Rosemary  in 

THE  GLORIOUS  ADVENTURE  ’ 

Lead  in 

“LA  POUPEE,” 
“WHAT  LOVE  CAN  DO  ” 

(Gaumont), 

“ROUNDED  CORNERS,” 

and 

‘‘THE  CAUSE  OF  ALL  THE  TROUBLE,” 

Heroine  in 

“COCAINE.” 


vi 


jUNE  3,  1922 


Supplement  to  THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93,  Long  Acre, 
London,  W.C.2, 


Vol.  1  No.  52 


the  focal 


Telegrams — 
Southernwood, 
Rand,  London 
Telephone — 
Gerrard  9870. 


June  3,  1922 


TO  drop  the  editorial  plural  for 
a  moment  I  wish  personally 
to  thank  those  numerous 
readers  who  have  written  or  spoken 
their  congratulations  on  the  MOTION 
PICTURE  STUDIO  being  in  the 
position  to  celebrate  its  first  birthday. 
Their  kindly  wishes  and  generous 
tributes  to  the  work  of  this  journal  are 
keenly  appreciated.  It  is  exceedingly 
encouraging  to  know  that  the  work 
done  in  this  office  is  so  highly  valued, 
and  I  take  this  opportunity  of 
assuring  all  that  we  shall  spare  no 
endeavour  to  contribute  as  largely 
as  possible  to  the  success  of  the 
kinema  profession. 

*  *  * 

One  Year  Od. 

IT  may  sound  rather  egotistical  but 
we  cannot  refrain  from  expressing 
our  personal  pride  in  the  achievement 
of  which  the  Motion  Picture  Studio 
can  now  boast.  This  journal  is  one  year 
old  ;  and — we  are  proud  to  think — it  is 
a  sturdy,  robust  youngster,  with  all  the 
enthusiasm,  energy  and  initiative  of  youth. 
During  the  past  year  we  may  have  been 
guilty  of  errors  of  judgment  or  in  tactics 
— but  youth  is  also  the  period  of  indis¬ 
cretions.  One  thing  that  will  be  allowed 
by  even  those  few  unimportant  enemies 
that  we  have,  and  that  is  that  the  mis¬ 
takes  in  the  past  year  were  not  due  to 
wrong  intent ;  we  have  always  tried  to 
do  what  is  best  for  the  industry,  and  if 
we  have  failed  in  achieving  any  victory 
we  have  the  consolation  of  knowing  that 
we  put  up  a  good  fight  in  the  effort. 

*  *  * 


For  the  British. 

'"THERE  has  never  been — and  this 
is  another  of  our  boasts — any  possi¬ 
bility  of  doubt  as  to  our  policy.  Firstly, 
we  stood  for  the  British  film  producing 
industry  and  its  best  interests.  And  this 
we  never  construed  to  mean  that  we 
should  be  for  ever  kicking  the  shins 
of  the  American  and  Continental  film 
industry.  We  have  always  been  con¬ 
vinced  of  the  internationalism  not  merely 
of  films,  but  also  of  the  art  of  acting  and 
film  making.  There  are  American 
directors  in  this  country  at  this  moment 
making  films,  but  we  do  not  conceive  it 
our  duty  to  do  anything  but  give  the 
Welcome  Hand  to  such.  There  are 
British  actors  going  to  work  in  Swedish, 
French  and  German  studios  ;  there  may 
be  Continental  artistes  come  over  here. 
This  is  not  a  matter  for  surprise  or  in¬ 


dignation.  For  the  art  of  mime-acting 
is  international.  But  this,  notwith¬ 
standing,  the  Motion  Picture  Studio 
has  been  first,  foremost,  and  fundamentally 
the  official  organ  of  the  British  industry. 
Such  a  journal  has  never  before  existed. 
Directors,  artistes,  scenarists,  cameramen, 
and  every  other  studio  worker  right  down 
to  the  girls  in  the  cutting  room  have 
hitherto  been  powerlessly  inarticulate. 


FROM  OUR  NO.  1  ISSUE. 

Q  "  The  '  Motion  Picture 
Studio '  will  be  the 
mouthpiece  of  all  those 
concerned  immediately 
in  actual  productions. 

It  will  devote  itself  solely 
to  furthering  their  in¬ 
terests,  and  will  in  no 
way  concern  itself  in 
the  commercial  side  of 
the  film  industry.  It  is 
a  paper  for  film  artistes 
in  the  very  widest  sense 
of  the  word,  and  for 
them  only.  To  help 
them,  to  make  them 
more  widely  known  to 
the  producing  industry, 
to  watch  their  interests 
and  to  give  them  an 
outlet  for  their  ideas  and 
opinions." 

But  for  twelve  months  they  have  had  a 
medium  for  expressing  their  ideas,  aspira¬ 
tions  or  grievances.  And  this  is  all  to  the 

good  of  the  industry. 

*  *  * 

Overcoming  Difficulties. 

V2ECONDLY,  we  have  made  no 
^  secret  of  our  unbounded  belief  in 
the  profession.  The  very  act  of  starting 
this  journal  was  a  gesture  of  confidence. 
A  year  ago  the  business  was  in  its  darkest 
days — June,  1921,  seemed  the  most  in¬ 
appropriate  date  to  launch  a  paper  in  the 
interests  of  the  British  film  producing  in¬ 
dustry.  But  the  parent-journal — the  Kine~ 
matograph  Weefly — knew,  by  reason  of  its 
years  of  keen  study  of  the  business,  that 
there  were  vast  possibilities  for  success 
in  the  industry.  And  so  the  MOTION 
Picture  Studio  was  bom.  For  the  first 
few  months  even  our  inherent  optimism 
was  sorely  tried.  We  were  faced  with  an 


initial  difficulty  of  our  own  creating,  for 
we  decided  on  a  policy  of  making  the 
Motion  Picture  Studio  a  professional 
paper  solely.  We  were  convinced  that 
it  is  not  good  for  the  profession  to  let 
the  public  know  too  much  about  the  inner 
workings  of  the  craft.  The  charm  of 
the  film  lies  in  its  illusion.  That  charm 
must  be  preserved.  A  great  blow  was 
struck  at  the  popularity  of  the  stage  when 
the  public  was  let  into  “  Behind  the 
Scenes  ”  secrets.  The  film  must  steer 
clear  of  that  danger.  And  while  we  knew 
(from  experience  of  the  “  fan  ”  papers 
that  are  published  from  this  building) 
that  the  public  would  eagerly  buy  the 
Motion  Picture  Studio  if  we  gave  it 
the  chance,  we  deliberately  decided  not 
to  give  the  paper  a  public  sale  but  to  keep 
it  within  the  profession,  That  meant 
a  somewhat  restricted  circulation  (howbeit 
a  more  valuable  circulation  to  our  adver¬ 
tisers,  who  knew  that  they  were  adver¬ 
tising  straight  to  the  people  they  wanted), 
and  so  we  had  to  base  our  hopes  of  success 
on  advertisements.  And  near  the  end 
of  the  year  we  were  in  the  enviable 
position  of  reporting  that  this  policy  was 
a  success.  To-day  the  MOTION  PICTURE 
Studio  is  stronger  and  more  powerful 
than  ever. 

5fC  * 

A  Valuable  Goodwill. 

IN  the  brief  space  of  a  year  we  have 
1  not  only  achieved  success  but 
have  established  a  reputation  that  in  itself 
is  highly  valuable.  Those  who  know 
us  and  our  methods  best  are  the  readiest 
to  declare  that  the  MOTION  PICTURE 
STUDIO  takes  great  care  to  be  scrupulously 
honest.  Our  film  reviews  have  spoken 
the  truth  about  British  pictures  without 
having  regard  to  the  fact  that  those  who 
merited  adverse  criticism  ought  be  ad¬ 
vertisers  in  the  paper.  Nor  have  we 
hesitated  to  attack  and  condemn  any 
element  that  we  honestly  believed  could 
work  to  the  hurt  of  the  British  industry. 
We  have,  we  admit,  been  well  established 
in  our  good  position  by  the  good  fortune 
of  having  the  unique  organisation  of  the 
Kine.  Weekly  at  our  back.  Because  of 
this  the  Motion  Picture  Studio  has  been 
able  to  submit  to  its  readers  and  its 
advertisers  an  excellent  news  and  interest 
service  together  with  an  ideal  adver¬ 
tising  medium.  And  we  may  be  forgiven 
from  pointing  out  that  if  the  MOTION 
Picture  Studio  had  done  nothing  during 
its  first  year  other  than  launch  the  Kinema 
Club,  it  would  have  fully  justified  its 
existence. 


Vll 


Supplement 

to  THE  MOTION  PICTURE  STUDIO 

June  3,  1922 

M 

EN  w  m  0 

II  M 

E  < 

r_  r- . 

FRED 
LE  ROY 


Last  British  Productions : 

“THE  HONEY  POT” 

and 

LOYE  MAGGIE” 


u 


Now  showing  in  British  and 
American  Kinema  Theatres. 


a 


EDWARD  D.  ROBERTS 


Now  directing  the  first  of  a  Series 
of  Two-Reel  Comedies: — 


U 


The  Cause  the  Trouble 

Starring  G.  K.  ARTHUR  and  FLORA  LE  BRETON. 


AT  PRESENT  IN 

TRIPOLI 

directing 

THE  PRICE 
OF  SILENCE” 

starring 

PEGGY 

HYLAND 


BRITISH  INTERNATIONAL  FILMS, 

61,  BERNERS  STREET,  :  :  W.l 


ALBANIAN 


All  Corns. — 

FILM  Co.,  14,  Victoria  Street,  St.  Albans 

’Phone — St.  Albans  443. 


Adrian  Brunei 


DIRECTOR  AND  SCENARIST, 

19,  Randolph  Crescent,  London,  Eng. 

His  S  p  a  n  i  s  h  -  Moroccan  Drama 

“  BROKEN  SAND” 

is  now  being  edited  in  Berlin  owing  to  the  ruinous  Tax 
on  British  enterprise  by  the  British  Government. 


RALPH  C.  WELLS 

Assistant  Director  to  Fred  Le  Roy  Granville, 
at  present  in  Tripoli  directing- 

“THE  PRICE  OF  SILENCE” 
(original  Story  by  Ralph  C.  Wells; 

HUGH  CROISE 

Sole  Adapter  and  Producer  of 
“THREE  MEN  IN  A  BOAT” 

and 

“  FOUR  MEN  IN  A  VAN.” 
Address  : — 

c/o  Motion  Picture  Studio ■ 


BERT  WYNNE, 

Director, 

SEAL  FILM  COMPANY. 

F.MARTIN  THORNTON 

Address— 84.  LEESIDE  CRESCENT, 
GOLDERS  GREEN,  N.W.ll. 
Producing-  tor  Welsh  Pearson  Film  Co.  Ltd. 
Latest  Productions — “Belonging-,'’  “Frailty,” 
“Prey  of  the  Dragon,”  “Gwyneth  of  the 
Welsh  Hills,”  “  Lamp  in  the  Desert.” 


GEOFFREY  II.  MALLNS,  O.B.E. 


( Director  of  Film  Productions). 


Latest  Successes  : — 

Watching  Eyes, 
The  Recoil/' 


a 


44 


tt 


44 


44 


Bluff/' 

The  Scourge.'’ 


VIDE  PRESS  1921-1922:— 

“Geoffrey  Malins'  latest  productions  for  the  Hardy  Film  Co.,  Ltd.,  are  the  finest  ever 

turned  out  by  a  British  director  .  He  is  a  master  of  drama  ...  .  a  genius  for 

extracting  the  ast  drop  of  emotio  alism  from  h  s  artistes.” 

All  Communications,  c/o  Kinema  Club.  Regent  2131. 


Vlll 


JUNE  3,  1922 


THE  MOTION  PICTURE  STUDIO 


3 


CHALLIS  N.  SANDERSON 

(c/o  KINEMA  CLUB). 

Assistant  Director  to  J.  Stuart  Blackton  for 
the  production  of 

“  The  Glorious  Adventure.” 


Has  directed  the  foil  awing  : 


LAW  DIVINE  (Masters)  ;  'SCALLYWAG  (Masters); 
FAUST  (Masters);  BRIDE  OF  LAMMERMOOR 
(Masters);  LA  TRAVIATA  (Masters);  LILY  OF 
KILLARNEY  (Masters);  FRA  DIAVOLO  (Masters); 
MONTY  WORKS  THE  WIRES  (Ar.istic). 

Besides  editing,  and  cutting  all  his  own  pro¬ 
ductions,  has  adapted  a  number  of  American 
Photoplays  for  the  British  market. 


H.  Humberstone  Wright 

DIRECTOR  of 

“ SEAS  OF  ROMANCE"; 

“  CREATION and 
“  THE  MAN  WHO  DARED." 

Offers  invited  for 
directing  productions. 

Address : 

THE  KINEMA  CLUB, 

9,  Great  Newport  Street,  W.C.2. 
REGENT  2131. 


J.  STUART  BLACKTON 

DIRECTOR  of 

“The  Glorious  Adventure” 

The  First  Screen  Play  to  be 
Photographed  in  Natural  Colours. 

Presenting  LALY  DIANA  MANNERS 

And  an  All-Star  British  Cast. 

HAILED  IN  LONDON,  PARIS,  AND  NEW  YORK 
AS  AN  EPOCHAL  PRODUCTION. 

Pre-Release  Showings — 

Royal  Opera  House,  Covent  Garden,  London. 
The  Colisee,  Paris. 

The  Capitol  Theatre,  New  York. 

General  World  Release,  September,  1922. 

Soon  starting  :  GEORGES  CARPENTIER 

in  a  Romantic  Film  Drama. 


GEORGE  RIDGWELL 

{Chairman  of  the  KINEMA  CLUB). 


[  - ]l -  IZZTLJ 

Directed : 

“The  Sword  of  Damocles.” 
“  A  Gamble  in  Lives.” 

“  The  Knight  Errant.” 

“  Greatheart.” 

i  1 r  —  ■  -  ■  — 1 1 □ 


1 - n ~ii  1 

Directed  : 

“  The  Four  Just  Men.” 

“  The  Amazing  Partnership” 

“The  Second  Series  of  the 
Adventures  of  Sherlock 
Holmes.” 

c _ Ji  -ii=n - 2 


3 


THE  MOTION  PICTURE  STUDIO 


June  3,  1922 


WHAT  I  S - 

BRITISH 

There  must  be  something  wrong  with  British  productions — everybody  says 
British  film  producing  industry  to  find  out  what  exactly  is  at  the  root 
the  truth,  however  -painful  and  unpalatable,  than  to  live  in  a  Fools' 
opinions  as  to  whatf  exactly  is  wrong  with  British  productions.  Edward 
staff  of  the  “  Kinematograph  Weekly and  it  is  his  daily  duty  to  judge  the 
W.  A.  Freshman,  who  has  played  so  successfully  in  several  British 


SOME  time  ago,  in  company  with  other  film  pressmen, 
I  had  to  sit  and  listen  while  a  prominent  member  of 
the  Trade  took  ns  severely  to  task  for  our  prejudice 
against  British  Films.  The  burden  of  his  complaint  was  that 
because  a  film  was  British  therefore  we  handed  out  more  than 
usually  severe  criticism  ;  whereas  in  his  view  the  fact  that  a 
film  was  British  ought,  ipso  facto,  to  ensure  for  it  preferential 
critical  treatment. 

Now  both  these  views  are  fundamentally  unsound. 
Anyone  who  thinks  thus  can  take  it  from  me  that  we  are 
overjoyed  if  we  see  a  good  British  film,  and  we  lose  no  time 
in  handing  it  bonquets.  Watching  as  we  do  the  unending 
flood  of  rubbish  that  passes  across  the  modern  screen  we 
are  delighted  to  be  able  to  praise  a  good  film  at  all  ;  but 
we  are  inclined  to  overpraise  a  good  British  film  because, 
to  tell  the  truth,  we  are  getting  a  little  tired  of  America, 
American  stories,  American  atmosphere  and  American  types. 


The  British  atmosphere  is  not  a  little  refreshing  to  the 
somewhat  homesick  critic. 

But  to  pretend  that  all  British  geese  are  swans  would,  in 
the  long  run,  do  a  grave  disservice  to  the  Industry  we  all  want 
to  help  and  foster. 

Why  is  it  we  see  so  few  British  films  we  can  honestly  praise  ? 
It  is  not  at  all  that  we  can’t  make  pictures  here.  “  Carnival,” 
‘‘  The  Adventures  of  Mr.  Pickwick,”  “  Demos,”  "  A  Romance 
of  Wastdale,”  '*  The  Fifth  Form  at  St.  Dominic’s,”  are  a  few 
that  occur  to  me  at  random,  equal  in  every  way  to  anything 
America  has  sent  us,  and  far  more  welcome  because  of  their 
British  atmosphere  and  characterisation.  Nor  were  the  critics 
anything  but  lavish  in  their  praise. 

Nevertheless  let  us  remind  ourselves  of  a  few  facts.  Not 
long  ago  the  boast  was  made  that  a  Director  had  completed 
65  reels  in  65  weeks.  When  I  see  them  projected  I  find  no  diffi¬ 
culty  whatever  in  believing  it.  Again,  it  was  acclaimed  as 

something  to  be  proud  of  that  a  full- 
length  continuity  had  been  written  well 
inside  23  hours,  5  minutes  and  2J  seconds, 
or  thereabout. 

Ye  gods  !  I’d  have  believed  it  if  I’d 
been  told  he’d  written  it  in  the  odd 
minutes  and  seconds. 

One  could  quote  many  similar  facts, 
each  of  them  pregnant  with  meaning  in 
view  of  the  question  at  the  head  of  this 
article. 

The  brutal  truth  is  that  there  is  less 
care  and  real  workman-ship  being  put 
into  5-reel  features  to-day  than  went 
into  the  2-reelers  of  ten  years  ago.  In 
fact,  most  of  the  so-called  “  features  ” 
are  only  the  2-reelers  inordinately  ex¬ 
panded,  and  they  don’t  stand  the  strain. 

Choose  your  story  on  Friday,  write  the 
continuity  on  Saturday,  cast  on  Sunday, 
start  work  on  Monday,  finish  as  soon  as 
you  can — or  sooner — that,  more  or  less, 
seems  to  be  the  rule.  Can  anyone 
wonder  that  something  goes  wrong  ? 

Footage  takes  precedence  over  dra¬ 
matic  values,  economy  is  a  cult  instead 
of  a  virtue,  and  craftmanship  is  replaced 
by  what  is  in  reality  mass  production. 
These  are  some  of  the  things  that  are 
wrong. 

Finance  is  regarded  from  the  wrong 
end.  The  vital  question  seems  to  be 
‘‘If  we  spend  threepence  in  this  scene 
will  it  show  on  the  screen  ?  ”  And  if  it 
can’t  be  seen  by  the  spectator  then  the 
threepence  is  not  spent.  This  is  all 
wrong.  The  most  valuable  expenditure 
is,  not  infrequently,  on  things  that  are 
only  seen  indirectly  by  their  general  con¬ 
tribution  to  the  whole  result. 

,  Far  better  to  pay  a  long  price  for  a 
sound,  dramatic  story,  make  it  really 
worth  an  expert’s  while  to  write  a 
continuity  that  is  something  more  than 
a  mere  sequence  of  events,  allow  a  director 
sufficient  time  in  which  to  exploit  all  the 
dramatic  possibilities  of  his  material  and 


ACCORDING  TO 

/"HAT  is  wrong  with  British  produc¬ 
tions?  In  the  first  place — story.  It 
is  noticeable  that,  in  proportion  to  output, 
Britain  uses  more  adaptations  of  novels  and 
plays  than  any  other  country,  and,  even 
making  allowance  for  material  having  run 
short,  it  is  fairly  evident  that  the  in¬ 
dividuals  who  select  the  subjects  for  adapta¬ 
tion  are  not  by  any  means  experts  at  their 
job. 

The  great  majority  of  the  subjects  chosen 
for  adaptation  by  British  producing  com¬ 
panies  are  almost  totally  unsuitable  for 
screening  and,  even  in  the  hands  of  expert 
scenario  writers  such  subjects  can  only 
result  in  more  or  less  strained  and  uncon¬ 
vincing  picture-plays. 

Secondly— continuity.  There  are  not,  at 
the  present  time,  more  than  three  or  four 
really  expert  continuity  writers  in  this 
country,  and  these,  having  spent  lean  and 
laborious  years  in  learning  their  business, 
not  unnaturally  expect  a  fair  remuneration 
for  their  work.  But  there  are  a  host  of 
what  one  might  describe  as  “half-baked” 
scenarists  who,  while  understanding  the 
elementary  principles  of  continuity  writing 
are  not  sufficiently  expert  to  turn  out 
anything  like  first-class  work.  But,  since 
they  only  ask  about  one  third  (or  even 
less)  of  the  fee  demanded  by  the  expert, 
the  producing  concerns,  from  'a  totally  mis¬ 
taken  sense  of  economy,  employ  them  in 
preference  to  the  more  expensive  and  more 
competent  writers.  This  results  in  ragged 
continuity  and  loss  of  dramatic  values 
through  inefficient  exploitation. 

Thirdly — casting.  In  casting  a  production 
the  British  producer  is  almost  invariably 
actuated  by  three  motives — cheapness, 
name,  and  suitability  of  type.  A  player 
with  a  name  is  cast  for  a  character  totally 
unsmted  to  his  talents;  another  player  is 
selected  for  a  part,  suitable  or  otherwise, 
solely  because  the  salary  expected  is  small; 
another  is  given  a  part  because  he  or  she 
'°°t*  the  type,  entirely  irrespective  of 
capability  to  -play  it!  1 

4 


A  SCENARIST 

Fourthly — hurry.  A  subject  is  selected, 
talked  over,  and  discussed  for  months. 
Then  (if,  as  is  often  the  case,  it  is  not 
scrapped  at  the  last  moment  and  another 
one  selected)  it  is  suddenly  decided  that 
it  must  be  done  at  once ,  and,  without  any 
apparent  reason,  everything  thereafter  is 
done  with  a  rush. 

The  scenarist  gets  a  week  or  ten  days 
to  do  a  month’s  work,  the  casting  is  rushed 
through  in  a  couple  of  days,  the  location 
man  is  lucky  if  he  gets  as  long  to  do 
his  “spotting  ”  in,  and  the  actual  pro¬ 
duction  is  scheduled  out  so  that  so  many 
hundred  feet  of  good,  bad,  or  indifferent 
material  must  be  shot  each  day — thus  a 
production  which  might  be  efficiently  done 
from  A  to  Z  in  three  months  is  slap-dashed 
through  in  one.  That  it  is  more  or  less 
spoiled  in  the  doing  does  not  appear  to 
matter  one  iota! 

Fifthly— cutting.  Injudicious  cutting  will 
spoil  the  most  painstaking  efforts  of  even 
the  most  expert  scenarist,  director  and 
players,  and  yet  almost  every  British  pro¬ 
ducing  firm  is  apt,  usually  at  the  last 
moment  (after  the  director’s  official  cut),  to 
hand  the  film  to  their  junior  office  boy 
with  instructions  to  cut  so  many  feet  out, 
with  the  natural  result  that  what  may,  up 
to  then,  have  been  a  reasonably  good  pic¬ 
ture,  emerges  from  the  operation  a  ragged 
and  often  almost  meaningless  jumble  of 
fragmentary  episodes,  loosely  connected  by 
(usually)  hastily  and  badly  written  titles! 

(I  could  name  some  notable  instances  of 
this  sort  of  thing  which  have  occurred  in 
connection  with  my  own  work.) 

To  sum  up.  The  key-faults  in  British 
producing  are  carelessness  and  extrav¬ 
agance.  As  an  example:  to  spend  a  thou¬ 
sand  pounds  on  the  rights  of  an  unsuitable 
story  and  fifty  pounds  on  an  inefficient 
scenario  is  the  grossest  form  of  extrav¬ 
agance,  and  to  allow  anyone  but  the  director  . 
or  the  scenarist  to  make  the  smallest  cut 
m  the  completed  film  is  sheer  carelessness. 

The  British  producing  organisations 
should  adopt  and  take  to  heart  two  mottoes: 

A  thing  worth  doing  is  worth  doing  well !  ” 
and  “Never  spoil  the  ship  for  a  ha’porth  of 
tar.  — Wm.  J.  Elliott. 


June  3,  1922 


THE  MOTION  PICTURE  STUDIO 


— W  R  O  N  G  WITH 
FI  L  M  S  ? 


so ;  so  it  must  be  so.  And  if  it  is  so  it  is  wisest  and  best  for  the 
of  the  trouble.  The  truth  can  never  harm.  And  it  is  best  to  know 
Paradise.  To  this  end  we  have  invited  three  gentlemen  to  record  their 

Thompson,  who  writes  the  first  article,  is  a  Press  critic  on  the  review 

values  of  films.  William  J.  hlliott,  the  well-known  scenarist,  and 
films,  write  from  the  angle  of  the  scenarist  and  artiste  respectively. 


give  some  attention  to  character  drawing,  than  to  fling  money 
away  on  lavish  sets  that  in  most  cases  means  pinching  and 
scraping  on  everything  else  and  which  emphasise  this  false 
economy  when  the  film  is  complete. 

Now  all  these  are  things  that  can  be  remedied,  granted 
a  little  foresight  and  imagination.  “  Nothing  Else  Matters  ” 
showed  what  could  be  done  by  simply  studying  detail, 
characterisation  and  atmosphere.  What  money  was  ex¬ 
pended  on  “  Four  Men  in  a  Van,”  was  given  to  essentials 
and  not  for  the  sake  of  giving  work  to  carpenters.  And 
for  sheer  poignant  drama  and  true  comedy  no  country  has 
ever  excelled  these  two  productions. 

Let  us  dig  still  further  down  and  tell  the  truth  though  the 
Heavens  fall.  While  good  directors  are  handicapped  on  every 
side  by  the  films  they  are  called  on  to  direct  and  the  conditions 
under  which  they  have  to  work,  a  good  many  stories  are  equally 
handicapped  by  the  fact  that  their  Directors  are  men  who 
would  be  much  better  employed  in 
weighing  out  sugar  and  cutting  up  bacon. 

And  between  the  upper  and  the  nether 
millstone  many  otherwise  competent 
actors  and  actresses  are  ground  into 
mediocrity. 

What  is  wanted  more  than  anything 
else  is  the  infusion  of  real  artistry  and 
dramatic  understanding  into  British  film 
production  ;  not  the  mere  artistry  of 
technique  and  mechanical  detail,  but  the 
vision  of  artistic  conception  and  treat¬ 
ment  of  an  idea.  Not  the  mere  dramatic 
exploitation  of  incident,  but  the  true 
drama  of  character  with  incident  as  a 
moulding  force. 

The  tragedy  is  that  Briti  h  film 
production  is  in  the  main  fatally  content 
to  remain  in  the  rut.  The  hope  for  the 
future  arises  from  the  fact  that  there  is 
no  real  obstacle  in  the  way  of  success. 

I  mean  no  real  obstacle  in  an  artistic 
sense.  As  I  have  implied,  there  is  an 
obstacle,  and  a  big  one,  commercially. 

It  is  obvious  in  British  films  themselves, 
even  to  those  who  dp  not  know  the 
fact  firsthand,  that  the  financial  control 
of  British  productions  is  very  largely  in 
the  hands  of  men  who  have  only  the 
faintest  conception  of  the  nature  of  the 
business  they  are  engaged  in. 

It  is  obvious  in  continuities  which  with 
one  eye  shut,  one  can  see  to  be  the  work  of 
inadequately  paid  and  badly  hurried 
scenarists,  in  details  of  production  which 
simply  shout  false  economy  to  the 
spectators,  and  in  stories  which  only 
too  plainly  have  been  screened  for  any 
reason  but  the  only  one  that  should 
count- — the  fact  that  they  are  really 
suitable  to  screen  presentation. 

So  that  when  I  say  that  the  infusion 
of  real  artistry  and  dramatic  under¬ 
standing  into  British  productions  is  a 
vital  need,  though  I  seem  to  be  blaming 


all  the  craftsmen  directly  engaged  in  production  for  the  present 
general  lack  of  these  qualities  I  am  quite  prepared  to  admit 
that  perhaps  the  real  responsibility  should  be  placed  on  the 
shoulders  of  the  man  further  back — the  commercial  chief  who 
decides  what  shall  be  filmed,  at  what  cost  and  under  what 
conditions. 

In  order  to  get  better  directors  and  better  artistes — or  the 
best  out  of  the  directors  and  artistes  already  in  the  business — it 
is  probable  that  we  should  first  concentrate  on  getting  better 
managing  directors.  Certainly  a  fundamental  change  in 
the  whole  attitude  of  the  business  chiefs  of  the  industry  is 
necessary  if  we  are  ever  to  see  production  in  this  country  rise 
even  to  the  same  level  as  in  America — which  is  by  no  means  the 
highest  possible,  or  even  the  highest  attained  by  present  day 
producing  concerns.  They  have  got  to  learn  real  values  and  to 
sacrifice  some  cherished  illusions  in  the  process. 


ACCORDING  TO 

1Y/TAINLY  I  would  suggest  a  lack  of  esprit 
A  de  corps  in  those  brought  into  contact 
with  each  other  in  course  of  film  produc¬ 
tion — a  spirit  which  characterises  Swedish 
productions  more  than  any  others  of  which 
I  can  think — the  art  of  directing  for  art’s 
sake,  and  acting  so  that  one’s  portrayal  of 
a  character  blends  with  the  remaining 
characters,  making  the  film  move  more 
smoothly  towards  its  ultimate  end. 

The  director  should  be  at  heart  an  actor, 
so  that,  while  allowing  his  artistes  to 
characterise  their  own  parts,  he  would  be 
able  to  prevent  them  from  just  overdoing 
therm.  He  should  have  the  eye  of  an 
artist,  and  with  an  artist’s  ready  perception 
be  able  to  appreciate  the  light  and  shade, 
the  delicacy  of  pathos,  the  immensity  and 
grandeur  of  drama,  or  the  light  and  airy 
gracefulness  of  easy  moving  comedy  in  each 
scene,  and  yet  keep  that  scene  in  subordina¬ 
tion  to  the  whole,  and,  in  so  doing,  obtain 
that  smoothness  of  action  so  necessary  to 
the  perfect  film. 

He  should  have  the  brain  of  an  architect, 
so  that  the  composition  of  each  scene  would 
be  perfect,  that  there  would  be  nothing  to 
detract  the  attention  of  the  viewer  from 
the  action,  that  there  would  be  nothing 
out  of  place  on  a  set,  and  so  that  the  set 
would  be  a  reflection  in  itself  of  the  char¬ 
acter  of  the  man  supposed  to  live  in  it. 
He  would,  further,  endeavour  to  get  con¬ 
trast  for  the  force  of  contrast  is  a  far  greater 
weapon  than  any  sub-title. 

Take,  for  example,  a  masterpiece  by  a 
man  who  is  generally  regarded  as  the 
world’s  greatest  director — D.  W.  Griffith’s 
“  Orphans  of  the  Storm.”  Griffith  will  cut 
from  a  great  ballroom  scene  to  different 
views  of  the  architecture  of  the  set,  showing 
the  richness  of  the  mouldings  or  the  hang- 


AN  ARTISTE 

ings,  all  to  illustrate  how  the  aristocracy 
spend  their  money  whilst  the  poor  starved 
In  this  way  he  gets  his  contrast. 

Yet  Griffith  does  this  without  seeming  to 
interrupt  the  progress  of  his  film,  because 
he  makes  it  part  and  parcel  of  the  film; 
there  is  no  sudden  break  to  detract  from  the 
full  story  value ;  always  first  in  his  mind  he 
seems  to  keep  the  theme. 

Therein  lies  the  secret  of  his  greatness  as 
a  director,  to  my  mind :  the  mental  capacity 
for  grasping  the  actual  truths  of  the  idea 
involved  and  the  ability  to  introduce  the 
unexpected  without  a  sudden  jar  to  thp 
continuity  and  without  a  nasty  shock  to  the 
spectators’  run  of  thought. 

Now  as  regards  the  artistes,  I  would  like 
to  suggest  that  the  perfect  film  will  not 
be  created  on  the  star  system.  No  one 
character  should  be  brought  to  the  fore 
and  kept  there  merely  because  he  or  she 
possesses  a  well-known  name. 

An  artiste  should  hold  the  centre  of  the 
screen  only  so  long  as  is  absolutely 
necessary  to  the  action  of  the  story;  so  also 
should  the  length  of  each  part  be  deter¬ 
mined;  also  the  degree  of  strength  with 
which  it  is  acted.  Wherefore  everything 
should  be  decided  by  the  story,  or  more 
especially  the  theme  of  the  film.  Let  it  be 
like  some  great  pivot,  with  all  else  revolving 
around  it  and  yet  in  ratio  to  it — scenarist, 
director,  artiste  and  cameraman,  the  four 
people  who  make  the  film.  For  the  theme 
of  a  film,  is  of  greater  value  than  the  star. 

Do  not  think  for  one  moment  that  I  am 
suggesting  that  British  directors  and  artistes 
lack  the  foregoing  virtues  (for  virtues  they 
most  certainly  are),  that  is  not  meant. 
What  I  am  driving  at  is,  that  all  must 
work  together  to  form  one  harmonious 
whole;  all  must  accommodate  themselves 
to  the  main  theme  before  we  can  hope  to 
attain  the  millennium  of  film  production. — 
W.  A.  Freshman. 


5 


THE  MOTION  PICTURE  STUDIO 


June  3,  1922 


defying  comparison 

by  Henry  Victor. 


DURING  the  existence  of  the  Motion 
Pictuke  Studio  a  good  many  dis¬ 
cussions  have  taken  place,  and  a  recurring 
subject  has  been  the  British  film  artiste 
in  comparison  to  his  cousin,  the  American. 
Why  and  how  is  it  the  American  film  stars 
are  generally  considered  our  superiors?  Is 
it  brains,  ability,  temperament,  or  the 
money  behind  them?  Most  people  put  it 
down  to  one  or  two  of  these  reasons,  but 
as  far  as  the  artiste  is  concerned  the  cause 
is  attributed  to  temperament. 

It  deserves  ridicule  to  state  that  we  lack 
temperament  or  ability  or  brains.  What  we 
do  not  consider  sufficiently  is  finance  on  a 
commercially  good  and  sound  basis.  If  the 
right  and  proper  people,  artistes  in  their 
art,  were  only  supported  adequately,  assisted 
by  business  peqple,  who  are  far-sighted 
enough  and  do  not  wish  art  absolutely 
sacrificed  to  commercialism,  then  the  whole 
outlook  would  be  brighter.  The  completed 


work  would  benefit  as  much  as  the  artiste 
concerned. 

To  return  to  the  subject  of  my  article, 
I  will  endeavour  to  convince  with  facts, 
which  severe  critics  almost  continuously 
overlook,  why  it  is  so  unfair  to  compare 
British  with  American  artistes  on  the  same 
hard  and  critical  lines. 

It  is  a  well-known  fact  that  in  the  States 
stars  are  created  by  sheer  force  of  support. 
The  finest  and  best  talent  is  first  discovered 
and  then  treated  and  nursed. 

Let  us  take  our  eternal  master  and  tutor— 
Nature — as  an  example.  The  seed  of  an 
orchid  is  to  look  at,  presumably,  a  most 
insignificant  object,  but  what  wonderful, 
and  to  us,  mysterious,  powers  are  hidden 
within — only  to  be  brought  out  by  a  force 
adequate  to  its  properties.  Plant  it  in  the 
surroundings  demanded  by  nature,  give  it 
the  chances  essential  to  its  natural  de- 
velopment  and  you  will  bring  forth  the 


beauty  and  glory,  which  even  the  eye  of 
the  most  unobserving  and  phlegmatic  in¬ 
dividual  cannot  pass  without  being  drawn 
to  it  with  admiration. 

Transplant  this  same  seed  into  a  soil, 
contrary  to  the  demands  prescribed  by 
nature,  do  not  observe  all  the  rules  laid 
down  for  its  progress,  and  what  do  you 
get? 

So  it  is  with  the  human  being  in  every 
case  and  in  every  sphere  of  life.  Talent 
in  artistes  is  a  mysterious  and  hidden  power 
and  necessitates  the  same  mysterious  power 
— talent — to  be  brought  out  to  the  utmost. 
In  this  way  the  American  star  is  created 
and  nursed;  the  director,  the  cameraman, 
the  scenario  department,  as  a  matter  of  fact 
all  concerned,  are  working  hand  in  hand 
and  are  guided  by  the  one  aim,  to  create 
and  to  let  the  subject  of  their  creation  shine 
to  the  best  advantage. 

If  I  could  onjy  say  that  we  had  the 
same  basis  to  work  on  in  England,  there 
would  be  no  reason  why  forty  to  fifty  per 
cent,  of  American  stars — Englishmen — were 
made  in  the  States  and  not  in  their  own 
country.  Give  us  the  same  chance,  facilities 
'  and  support  and  then  compare. 


STORY  VERSUS  STAR 

b'j  Muriel  Alleyne. 


LL  the  money  lavished  on  production 
will  not  improve  the  British  photoplay, 
if  co-operation  is  not  the  first  and  foremost 
factor  in  the  making  of  them.  The  war  has 
set  the  clock  back  in  the  British  Industry, 
and  it  is  for  all  of  us  in  every  branch  of 
the  Trade  to  put  our  shoulders  to  the 
wheel  and  work  hand  in  hand  to  make  our 
pictures  the  best  in  the  world,  and  to 
capture  the  markets  in  our  vast  Empire, 
getting  the  capitalists  in  our  Overseas 
Dominions  to  interest  themselves  in  showing 
British  films  to  British  subjects,  but  these 
films  will  have  to  be  of  a  high  standard, 
and  aim  still  higher  at  perfection,  to  hold 
the  position  they  have  obtained. 

We  have  a  beautiful  country  for  our  back¬ 
grounds,  and  we  are  rich  in  history  and 
noble  ideals,  we  have  produced  writers  and 
poets  of  great  literary  talent,  but  in  the 
words  of  our  immortal  Shakespeare,  we  must 
realise  that  “the  play’s  the  thing.” 

A  good  story  is  worth  more  than  a  good 
star  or  a  much  advertised  director,  but  how 
are  the  Scenarists  treated  by  the  Industry? 
They  have  been  made  the  Cinderellas  long 
enough,  their  works  in  many  cases  have 
been  tampered  with  by  the  director  and 
mutilated  in  the  cutting-up  room,  and  the 
door  of  the  studio  is  barred  against  them. 

Original  scenarios  submitted  to  firms  are 
in  most  cases  never  seen  by  the  heads  of 


those  firms  or  intelligent  directors.  I  know 
of  one  film  director  who  has  done  excellent 
work,  who  told  me  that  when  a  few  scenarios 
had  been  selected  by  the  reading  staff, 
they  were  put  before  the  board  of  directors 
(men  finding  the  money  but  with  no  film 
knowledge  at  all),  yet  if  this  film  director, 
with  his  experience  and  judgment,  could 
have  selected  a  play,  it  would  have  been  of 
benefit  to  the  firm  and  their  pockets. 

We  know  quite  well  that  there  are  hun¬ 
dreds  of  badly  written  and  impossible 
scenarios  submitted  to  firms  and  it  is 
necessary  to  separate  the  goats  from  the 
sheep,  but  when  they  have  properly  written 
work  sent  in,  it  should  at  least  be  read — 
not  the  synopsis  only,  but  the  finished 
scenario — by  the  man  at  the  wheel.  Money 
spent  in  buying  a  good  story  is  worth  more 
to  a  firm  than  a  good  star,  and  as  Mr. 
Smith,  of  Goldwyn’s,  says,  “You  can  always 
put  over  a  picture  directed  by  an  unknown 
and  not  featuring  any  big  names,  if  the 
story  is  good.” 

But  how  is  the  screen  play  writer  treated 


to-day?  He  is  kept  in  the  background,  and, 
alas,  often  robbed  of  his  ideas.  For  Heavens 
sake,  let  us  have  co-operation.  Bring  the 
most  promising  free  lance  scenario  writers 
together,  let  a  director  of  experience  and 
sound  judgment,  a  man  who  has  really 
done  something,  tell  them  what  is  wanted, 
let  the  heads  of  firms  say  what  they  want 
and'  I  believe  they  will  have  a  response. 

Don’t  try  to  copy  other  countries,  have  the 
courage  as  they  say  in  Lancashire  to  “stand 
on  your  own  pins,”  be  original,  and  re¬ 
member  that  the  director  cannot  make  a 
good  picture  if  the  story  is  bad.  The  artistes 
can  do -their  best  but  will  not  save  it.  The 
cameraman  may  give  us  quality  but  he  is 
helpless. 

Encourage  your  scenario  writers,  treat 
them  like  white  men,  pay  them  well  because 
it  will  pay  you,  because  you  are  going  to 
make  them  co-operate  in  your  great  work. 
Indifferent  treatment  of  the  backbone  of  the 
Film  Trade,  the  scenario  writer,  is,  I  think, 
what  is  wrong  with  British  productions,  and 
remember  “The  Play’s  the  thing-” 


THE  YEAR’S  LESSON 

by  Challis  N.  Sanderson. 


DURING  the  last  twelve  months  many 
producing  organisations  have  begun  to 
realise  that  a  film  from  the  time  of  pass¬ 
ing  the  scenario  must  be  a  commercial 
proposition.  British  productions  with  very 
little  exception  have  had,  and  continue  to 
have,  a  limited  market,  and  a  certain 
nominal  figure  is  the  most  that  can  be 
obtained  in  the  United  Kingdom. 

Here  arises  the  question  of  foreign  sales. 
Yes,  surely,  but  how  many  British  pro¬ 
ductions  have  been  sold  to  America  or 
anywhere  else?  A  very  small  percentage  on 
our  gross  output. 

A  very  few  years  ago  it  was  considered 
wise  to  expend  as  much  money  as  possible, 
and  to  advertise  your  result  as  a  “so  many 
pounds  ”  production,  plus  so  many  artistes, 
etc.,  etc.  This  may  have  been  all  right  from 
an  American  point  of  view,  where  all  sales 
outside  the  U.S.A.  are  net  profit,  but  when 
you  estimate  a  British  super  production 
with  its  sales  say  limited  to  the  United 
Kingdom  where  there  are  only  5,000  theatres, 
you  will  have  to  book  your  subjects  to  every 
hall,  and  at  a  good  price  to  guarantee  a 
return  or  even  a  covering.  So  much  for 
big  stuff. 

Producing  companies  are,  therefore,  be¬ 
ginning  to  revert  back  to  making  the  short 
subjects  which  placed  the  kinematograph 
Trade  on  the  high  plane  it  was,  until  the 


craze  brought  in  hundreds  of  people  who 
knew  little  or  nothing  about  films  (and 
did  not  want  to  know),  but  who  imagined 
that  Wardour  Street  was  a  second  Klondike. 
These  people  with  their  pig-headed  inex¬ 
perience  are  partly  responsible  for  the 
slump,  and  for  keeping  out  the  capital 
which  the  pioneers  used  judiciously. 

Another  reason  for  making  shorter  sub¬ 
jects  is  that  the  two-feature  program,  which 
is  so  prevalent  at  many  houses,  is  not  liked 
by  the  public.  Out  of  seven  picture  palaces 
which  I  have  attended  during  the  last  fort¬ 
night,  the  most  interesting  item  was  the  news 
gazette.  The  five  and  six  reelers  could  easily 
have  been  cut  down  to  one  or  at  the  most 
two  reels,  without  injuring  the  story;  in 
fact,  it  would  have  improved  it. 

Occasionally  one  sees  a  big  picture  which 
justifies  the  amount  of  footage,  but  again 
the  most  successful  of  these  are  eighty  per 
cent,  action,  with  the  other  twenty  per  cent, 
pictorial  and  effect,  the  latter  carefully 
intermingled  so  as  not  to  be  boresome. 
“Way  Down  East,”  and  “Orphans  of  the 
Storm,”  are  examples,  and  in  neither  of 
these  does  one  find  high-brow  matter. 

The  public  is  tired  of  seeing  a  person 
walkifig  aimlessly  along,  for,  say,  fifty  feet. 
The  majority  want  melodrama  and  good 
comedy,  although  they  will  not  admit  it. 
Take  the  most  successful  pictures  (from  a 


commercial  point  of  view)  analyse  them, 
and  you  will  find  they  are  melodramas  and 
comedies. 

You  certainly  cannot  estimate  as  much 
profit  on  a  one-reeler  as  on  a  five,  but  in 
most  cases  where  a  contract  is  arranged 
with  a  renting  house  beforehand,  the  returns 
are  quicker  and  more  certain.  Also  any 
real  investor  would  rather  have  fifty  pounds 
profit  guaranteed  than  five  thousand  pounds 
probable,  which  has  been  “promised”  on 
more  than  one  occasion. 

We,  in  the  film  Trade,  do  not  get  our 
capital  from  Wardour  Street,  and  we  there¬ 
fore  must  show  our  prospective  investors 
more  than  a  gilt-edged  security;  that  is  if 
we  want  to  continue  and  not  close  down 
altogether. 

The  most  beautiful  and  artistic  picture  in 
the  world  is  no  earthly  use  unless  you  can 
sell  it.  Money  is  to  be  made  out  of  films 
for  the  investor  as  well  as  the  producer, 
and  I  think  I  am  right  in  saying  that  more 
money  has  been  spent  on  films  during  the 
comparatively  short  time  they  have  been 
in  existence,  than  in  any  other  business. 

I.  myself,  have  only  directed  a  few  pic¬ 
tures,  but  I  guarantee  that  not  one  of  them 
has  been  a  loss  to  the  investor.  I  am  out 
to  make  money  for  myself  and  for  the 
people  who  employ  me.  '  If  you  play  fair 
with  your  investor,  he’ll  remember  you;  if 
you  don’t,  he’ll  certainly  remember  you  but 
there  won’t  be  “another  time.” 

Do  not  cease  making  big  pictures 
altogether,  as  many  stories  justify  and  de¬ 
mand  five  or  six  thousand  feet,  but  do 
carefully  consider  your  scenario  and  market 
beforehand. 


June  3,  1922 


THE  MOTION  PICTURE  STUDIO 


IntimaTie  Studio  Q  os  sip 


Here  von  have  our  first  Birthclav 
number.  It  is  more  than  double 
tiie  usual  size,  and  I  strongly  advise 
readers  to  be  sure  to  read  every  page, 
including  the  advertisements.  You 
will  find  much  interest  and  valuable 
information  in  the  announcements  in 
the  advertising  pages. 

Last  week  I  referred  to  Hal  Martin’s 
accident,  and  Victor  McLaglen, 
who  has  returned  to  London  after 
finishing  the  sea  scenes  in  “  A 
Sailor  Tramp,”  writes  to  give  me 
fuller  details.  He  says  :  “  During  the 
closing  scenes  afloat  I  had  to  chase 
one  of  the  crew  (a  part  which  was 
played  by  Hal  Martin)  up  the  rigging 
to  a  yard-arm,  from  which  position  he 
had  to  jump1  eighty-six  feet  into'  the 
sea.  Hal  Martin  bravely  volunteered 
to  do'  the  jump  instead  of  an  actor 
whose  courage  failed  him  at  the  last 
moment.  Martin  jumped,  but  unfor¬ 
tunately  seriously  hurt  himself  on 
striking  the  water.  We  rescued  him 
and  brought  him  back  to  the  ship,  and 
made  a  hasty  return  to  Falmouth, 
where  he  now  lies  in  a  serious  condi¬ 
tion  at  the  Nursing  Home.  This  is 
the:  first  bad  accident  I  have  witnessed 
during  my  film  career,  and  I  assure 
you  it  was  a  very  unpleasant  one.” 


Qn  this  page  is  a  photo  of  H.  B. 

Parkinson,  managing  director  of 
Master  Films,  Ltd.  Under  his 
management  Master  can  show  an  out¬ 
put  for  the  last  year  of  sixty  reels, 
including  the  now  famous  “  Tense 
Moments  ”  and  “  Song  Pictures.” 
These  struck  a  new  and  wise  note  in 
film  production,  and  it  is  to  the  credit 
of  H.  B.  that  a  British  firm  was  far¬ 
sighted  enough  toi  see  that  the  kine- 
golng  public  would  demand  short  films. 
In  addition  to  guiding-  the  destinies^of 
the  company  Mr.  Parkinson  has 
directed  the  production  of  most  of  the 
firm’s  output;  he  is  one  of  the  few 
who  are  a;  successful  combination  of 
artistic  and  commercial  faculties. 


w  illiam  Fox,  the  famous  American 
film  magnate,  is  over  in  this 
country  and  has  purchased  the  rights 
of  the  popular  novel  “  If  Winter 
Comes,’’  which  will  be  made  into  a 
film  for  the  Fox  people.  All  the 
exteriors  will  be  made  in  this  country, 
and  so  deeply  interested  is  Mr.  Fox 
in  the  filming  of  “If  Winter  Comes  ” 
that  he  himself  will  confer  with  Mr. 


Hutchinson,  its  author,  on  the 
scenario,  and  will  make  a  personal 
visit  to  all  the  locations  which  he  plans 
to  utilise  for  backgrounds  in  this  pro¬ 
duction.  The1  film  rights  of  this  novel 
were  purchased  by  William  Fox  for 
what  is  estimated  to  be  a  record 
figure  for  a  novel.  Although  arrange¬ 
ments.  for  the  filming  are  by  no  means 

—F  if*1*  toi^nT.n.’  tx  .  raa^Essssaaaiiiiifci  ■  ■  1  iiiiCg»e^aHca— iraa 

36  PAGES 


complete,  they  are  so  far  advanced  as 
to  warrant  the  prediction  that  the 
result  will  be  an  unusually  elaborate 
and  spectacular  production. 

The  past  week  has  been  considerably 
brightened  by  the  fact,  that  several 
artistes  have  been  cast  to  play  in 
“  Rob  Roy,”  the  next  big  Gaumont 
film.  David  Hawthorne  is  to  be  Rob 
Roy,  Wallace  Rosco  has  one  of  the 
leading  parts,  Olaf  Hyttem  is  also  in 


H.  B.  Parkinson. 

the  cast,  together  with  Alec.  G. 
Hunter  (the  typical  Scot  !)  who-  is  to 
play  the  picturesque  part  of  the  Dugaf 
Crater.  Maurice  Thomson,  who  has 
appeared  with,  success  in  a  number  of 
leading  boy  parts,  is  wondering  if  he 
has  to  wear  kilts  for  his  part  in  the 
film,  for  although  he  has  been  booked 
for  the  film  the  details  of  his  dress 
have  not  yet  been  given  him.  Think 
of  little  Maurice,  David  Hawthorne 
and  Alec.  G.  Hunter  as  a  group  of 
kilties!  I  understand  that  the 


remainder  of  the  cast  will  be  fixed 
within  a  day  or  two,  and  the  whole 
company  will  go  to  Scotland  at  the 
beginning  of  June.  It  is  interesting 
to>  note  that  in  the  selection  of  David 
Hawthorne  for  Rob  Roy  Gaumont  is 
evidently  determined  upon  making 
Rob  Roy  as  heroic  and  physically 
attractive  a  person  as  possible.  The 
real  Rob  Roy,  with  his  short  body  and 
long  arms  which  reached  below  his 
knees,  was  not  at  all  attractive,  but  the 
part  has  always  been  played  on  the 
stage,  even  in  Scotland,  by  a  big 
handsome  man,  and  Will  ’  Kellino, 
therefore,  has  theatrical  tradition  to 
support  his  departure  from  history. 
The  choice  is  wise  from  the  entertain¬ 
ment  point  of  view.  The  builders 
have  been  hard  at  work  for  over  a 
week  erecting  the  various  buildings 
which  will  be  required  for  the  produc¬ 
tion  in  Scotland,  and  the  only  reason 
that  the  company1  is  not  going-  up 
earlier  is  that  it  will  take  a  full  month 
to  get  the  buildings  erected.  I  learn 
that  the:  castlei  will  be  quite  an 
imposing  affair  about,  90  ft.  long  by- 
over  40  ft.  high,  and  30  to>  40  ft.  deep. 
1  h is  is,  of  course,  considerably  larger 
than  the  original  Inversnaid  Fort, 
which  it  is  to  represent.  The  enlarge¬ 
ment  has  been  decided  upon  lor  photo¬ 
graphic:  effect  and  so  that  the  building 
shall  not  be  too  much  dwarfed  by  the 
surrounding1  hills. 

Owing  to  the  extra  pressure:  on  our 
space,  due  to  the  importance  of 
this  Anniversary  Double  Number,  we 
have  been  compelled  to  hold  over  the 
f opr th  article  of  the  “  Saving  the 
Situation  ”  series  and  the  second  of 
/Colonel  Barron’s  series  on  “  Histrionics 
as  a  Science.”  Both  these  series  will 
be  resumed  in  our  next  issue,  together 
with  the  “  Where  they  are  and  what 
they  are  doing  ”  feature,  which  has 
had  to  be  suspended  this  week  for  the 
same  reason. 


Adrian  Brunei  and  Miles  Mander  wish 
me  to  state  that  it  was  not  owing 
to'  events  in  Morocco  that  they  severed 
their  connection  with  Solar  Films  (as 
suggested  in  last  week’s  Motion 
Picture  Studio),  but  owing  to  events 
A  which  took  place  in  England 
|  whilst  they  were  in  Morocco. 


7 


THE  MOTION  PICTURE  STUDIO 


June  3,  1922 


the  two  new 

WALTER  WEST  PRODUCTIONS 


“  Scarlet 

Lady” 

By  J.  BERTRAM  BROWN, 

featuring 

VIOLET 

HOPSON 

LEWIS  WILLOUGHBY, 
CAMERON  CARR,  Etc. 


STEWART  ROME 

“When  Greek 
Meets  Greek” 

By  PAUL  TRENT, 

featuring 

VIOLET  HOPSON 

AND 

STEWART  ROME 


Stirring  Tale  of  the  Turf.  Released 
lis  Year  during  the  Steeplechase  Season. 


LONDON  TRADE  SHOW. 


(=□ 


Thursday.  .  .  .  June  8, 

New  Gallery  Kine.  at  1 1 . 3 0  a.m . 


BUTCHER’S  FILM  SERVICE  LTD., 

Camera  House,  Farringdon  Avenue,  LONDON,  E.C. 


'Phone  :  Holborn  5995  (5  lines).  Wires:  **  Butcnilms,”  Fleet,  London. 

Cables:  “Butchilms,”  London,  A.B.C.  5th  Edition. 


No.  1  BRITISH  NATIONAL  PROGRAMME 
RELEASED . JAN.  1923 


VIOLET 

HOPSON 


The  World’s  Rights  of  Walter  West  Productions  and  other  important  British  productions  are  exclusively 
owned  and  controlled  by  Butcher's  Film  Service,  Ltd.,  to  whom  all  enquiries  should  be  addressed. 


8 


June  3,  1922 


THE  MOTION  PICTURE  STUDIO 


\ 


Again  Frank  Tilley  reveals  him¬ 
self  as  a  ploi-creator  of  no  mean 
order.  ‘‘frozen  Fingers”  is  an 
original  story,  a  grim  drama 
such  as  would  make  a  fine  basis 
for  a  strong  photoplay . 


“  sphere’s  something  wrong  with  this  close- 

up,”  said  ;he  cameraman,  frowning.  lie 
was  developing  test-pieces  of  the  negative  of 
Geoffrey  Weis  ton’s  latest  starring  vehicle, 
and  his  remark  was  made  to  the  director, 
who  was  anxiously  watching  the  results. 

“Can’t  make  it  out.  There’s  a  shadow 
right  across  the  top,  but  yet  it’s  not  alto¬ 
gether  a  shadow.  Seems  to  have  a  shape. 

In  fact,  it  seems  to  be  shaping ■  Let’s  try  a 
bit  more.” 

Presently,  another  half-dozen  pictures  de¬ 
veloped,  he  looked  again,  and  gave  a  loud 
shout.  “Good  God,  Guv’nor,”  he  said,  “it 
has  got  a  shape.  It’s  a  sled  crossing  a 
snowheld.  There’s  one  man  walking  by  .the 
dogs  and  another.  .  .  .”  He  broke  off 

and  passed  the  strip  to  the  director,  who 
held  it  to  the  faint  red  light.  As  he  lifted 
his  eyes  and  looked  to  the  cameraman,  his 
hands  shook  and  his  face  was  very  grey. 

Ik 

/W  eoffrey  Weis  ton  was  more  pitied  than 

liked  by  his  fellow  artistes.  Pie  was  an 
exceptionally  fine  actor,  but  he  was  sombre 
and  apt  to  fall  into  fits  of  moroseness.  Then, 
too,  he  had  a  queer  habit  of  glancing  swiftly 
over  his  shoulder  which  was  rather  discon¬ 
certing  at  times. 

His  sombreness  was  excusable,  aird  it  was 
because  of  the  reason  for  it  that  he  was 
pitied.  Many  years  before  he  had  taken  to 
film-playing  he  had  adventured  about  the 
world  with  a  friend,  and  they  had  been 
inseparable.  There  was  a  very  deep  affection 
between,  them,  and  a  mutual  love  of  the 
wilds  and  of  roving. 

They  had  gone  into  the  Alaskan  gold  rush, 
these  two,  and,  at  the  end  of  their  hope 
and  their  resources,  had  made  a  big  strike. 
In  a  few  weeks,  from  hapless  adventurers 
they  became  rich  men — so  wealthy  that  they 
were  scarcely  able  to  calculate  how  much 
they  possessed.  So  they  set  out  for  civilisa¬ 
tion  and  home.  With  dog-sled  and  all  their 
new-won  gold  they  set  out  to  cross  the  snow 
desert  that  linked  the  bitter  struggle  of  the 
mining  camp  with  the  sweet  softness  of 
white  lights  and  fair  towns.  But  Welston 
came  back  alone — with  his  feet  frostbitten, 
half  his  dogs  gone  and  a  strained,  broken 
look  behind  his  weary  eyes. 

It  was  a  heartbreaking  story  he  had  to 
tell,  but  a  story  that  was  only  too  common 
cn  that  cruel  trek.  They1  had  struck  blizzard 
upon  blizzard  ;  their  food  had  given  out  ; 
they  had  killed  most  of  the  dogs  for  food — • 
but  Welston ’s  partner  had  not  been  able  to 
struggle  through.  Cold,  hunger,  snowblind- 
r.ess,  fever — and  a  little  mound  above  a  hol¬ 
low  scraped  in  the  frozen  snow. 

That  was  the  story  of  the  journey,  save 
that  Welston  did  not  tell  the  rest :  how  he 
had  stumbled,  dazed  and  weary,  on  and  on 
till  he  won  through,  almost  too  late. 

*  *  * 

“  "YXHiat  do  you  think  it  is?  ”  said  the 
cameraman  to  the  director,  as  they  sat 
the  next  morning  in  the  latter’s  room 
examining  the  complete  take. 

“There  are  more  things  •  .  .”  began  the 

director,  then  paused.  “There  is  an  explana¬ 
tion,  if  you  believe  in  the  genuineness  of 
spirit  photogtaphs.  Not  the  spiritualist  ex¬ 
planation,  but  the  idea  that  strong  thought 
produces  actual  forms  that  can  only  be  seen 


FROZEN 

by  FRANK 

by  psychics  .  .  .  and  the  lens  of  the 

camera.  Now  if  you  accept  that,  and  sup¬ 
pose  that  Welston  had  been  thinking  of  .  .  .” 

“Good  God!”  broke  in  the  cameraman. 
“You  mean  that  he  .  .  .  .” 

“Was  just  letting  his  imagination  run 
loose,”  interjected  the  director.  “There  is 
nothing  else  we  dare  suppose  .  .  •  yet ! 


HERE’S  TO  US 

Opinions  we  have  not  got  on  our 
first  anniversary  number. 

GEORGE  ROBEY: 

“Well,  I’m — shurrup!  Now,  as  a 
friend  ...” 

LORD  NORTHCLIFFE: 

“  I  might  almost  have  done  it  my¬ 
self,  if  I  had  time.  The  M.P.  Studio, 
like  the  Daily  Mail  hat,  was  a  long- 
felt  want.  Onlv  no  one  wanted  the 
hat.” 

G.  K.  CHESTERTON: 

.“  Beer,  as  I  have  said  before,  is  a 
sign  and  a  symbol,  but  not  modern 
beer.  Beer,  in  the  cosmic  sense, 
stands  for  liberty.  But  in  these  times 
it  mainly  stands  for  licence,  and  the 
licence  is  almost  always  an  off-licence. 
Here’s  to  you!” 

G.  BERNARD  SHAW  : 

“Sell  my  stories  to  film  producers? 

Do  without  the  M.P.  Studio.  Not  .  .  . 
Well,  Mr.  Campbell  said  it.” 

LORD  BEAVERBROOK  : 

“Success  comes  from  push,  provid¬ 
ing  you  are  not  the  pushed.  I  pushed 
the  Sunday  Express  in  the  days  when 
it  was  more  like  a  slow  local.  You 
have  done  wonders  also  in  your  small 
way  with  the  M.P.  Studio.  Do  not 
be  discouraged ;  my  shining  example 
is  ever  before  vou.” 

ADOLPH  ZUKOR : 

“Fine.  Famous.  Players  —  sure, 
all  over  the  ad.  pages.  It’s  a  para¬ 
mount  production.” 

ALFRED  H.  MOSES-: 

[Held  over  till  we  have  more  pages 
next  year. — Ed.] 

JEFFREY  BERNERD: 

“Maurice  Elvev  could  not  have 
produced  anything  better.” 

MAURICE  ELVEY  . 

“Jeffrey  Bernerd  could  not  have 
exploited  anything  better.” 

H.  G.  WELLS  : 

“  Certainly  reveals  the  Secret  Places 
of  the  Art.” 

H.  J.  BOAM  : 

“There’s  no  taste  in  nothing. 
But  there’s  certainly  some  taste  in 
the  M.P.  Studio.” 

SIDNEY  JAY  : 

“Fifty-two  weeks?  Ain’t  that  a  fine 
contract !” 

GUY  NEWALL  : 

“Sorry.  Far  too  rushed  trying  to 
put  the  Fox  into  the  Farm.” 

FRED  WRIGHT  : 

“  I  hope  my  revue  will  run  as  long. 
Have  vou  seen  it?  Oh  for  the  peace¬ 
ful  hush  of  the  studio!  ” 


FINGERS 

A.  TILLEY. 

All  we  can  do  is  to  run  this  through  and 
have  Welston  see  it.  If  it  makes  no  impres¬ 
sion  on  him  beyond  arousing  his  interest  and 
curiosity,  we  shall  know.  But  if  it  produces 
another  effect  we  .  .  .  shall  also  know.” 

Later  in  the  afternoon  the  star,  with  his 
director  and  the  cameraman,  was  seated  in 
the  little  projection  room  attached  to  the 
studio.  It  was  not  unusual  for  Welston  to 
be  invited  to  see  shots  run  through,  so  he 
accepted  as  a  matter  of  course  when  he  had 
been  asked  over  lunch  to  see  this  one. 

Through  the  dead  blackness  of  the  room 
shot  the  violent  ray  from  the  projector,  and 
with  a  soft  purr  the  picture  rippled  on  the 
screen.  It  was  a  series  of  close-ups,  pictures 
of  varying  shades  of  emotion  as  the  character 
— played  by  Welston — was  falsely  accused, 
and  later  tried,  for  murder. 

But  presently  across  the  clearness  of  the 
picture,  across  the  hunted  eyes  of  W  elston 
and  his  wrinkled  brow  there  came  a  shadow 
— a  shadow  that  moved  and  became  more 
distinct  till  it  was  a  dog-sled  crossing  a 
waste  of  snow. 

Up  at  the  head  of  the  dogs  one  man 
plunged  and  stumbled,  with  head  bowed  to 
the  whirling  blizzard.  Upon  the  pile  on  the 
sled  lay  another  man,  very  still.  But  pre¬ 
sently  he  moved,  slowly  and  deliberately  till 
he  was  almost  sitting.  Somewhere  in  his 
bundled  and  shapeless  clothing  he  fumbled, 
then"  raised  his  right  arm.  A  puff  of  smoke 
swirled  away  just  beyond  his  hand  ■  .  . 

and  the  man  leading  the  dogs  stumbled  more 
heavily  for  a  moment,  then  fell  headlong 
across  the  foremost  dog. 

Down  from  the  sled  jumped  the  other 
figure,  and  after  a  glance  at  the  fallen  man 
began  feverishly  to  scratch  a  hole  in  the 
snow.  Larger  the  hole  grew  till  it  looked 
like  a  grave.  Then  he  turned  back  to  the 
sled  and  to  what  had  once  been  his 
partner.  . 

There  was  a  strangled  scream,  and  Wel¬ 
ston  stumbled  across  the  darkness  to  the 
screen,  tearing  and  clawing  feverishly,  furi¬ 
ously  at  the  wall.  '“I  didn’t — I  didn’t — you 
— why  have  you  come  back?  ” 

The  light  came  on  with  a  snap,  and  the 
director  anpl  cameraman  were  on  their  feet. 
Welston  turned,  and  the  final  evil  of  guilty 
madness  was  in  his  face.  He  made  a  rush, 
and  the  director  swung  a  chair  above  his 
head  in  readiness.  But  Welston  halted,  as  a 
pointer  halts— suddenly  and  stiffly. 

“Go  back,”  he  screamed,  “I  know  what 
vou  have  come  for.  All  the  time,  ever  since 
1  killed  you  and  buried  you  in  the  frozen 
snow  you  have  waited.  But  you  shan’t  do 
it,  you  shan’t”  ....  And  his  hand 
fumbled  at  his  vest  pocket. 

Suddenly  he  threw  his  head  back  and 
struggled  with  his  shoulders  and  tore  at  his 
collar.  His  breath  came  in  strangled  gasps, 
and  his  face  grew  livid.  It  was  as  if  he 
fought  with  Something — Something  which 
the  others  could  not  see.  Then  slowly  he 
crumpled  into  a  heap  on  the  floor  and  lay 
very  still. 

*  *  * 

“  TJeart  failure,  undoubtedly,”  said  the 
doctor,  “but  I  have  never  seen  the  face 
so  congested  before.  It  is  almost  as  if  he 
had  been  strangled.  And  those  five  curious 
marks  round  his  throat.  Quite  like  spots  of 
frost-bite.  A  most  unusual  case.  Great  pity 
.  .  .  Clever  fellow,  wasn’t  he?  ” 

The  director  and  the  cameraman  looked  at 
each  other  and  shuddered— even  though  the 
film  had  already  been  put  deep  into  the 
studio  furnace- 


9 


THE  MOTION  PICTURE  STUDIO 


June  3,  1922 


WE  HAVE  PRODUCED  60 
FIVE  MONTHS  ALL  OF  WHICH 


1C  ONE-REEL  SONG  STORIES, 

1U  “FAMOUS  SONGS  OF  LONG  AGO.” 

Acquired  by  BRITISH  EXHIBITORS  FILMS,  LTD., 
8-9,  Long  Acre  ::  ::  LONDON,  W.C.  2. 

1  O  ONE-REEL  DRAMAS, 

1  *  “  TENSE  MOMENTS  WITH  GREAT  AUTHORS.” 
Acquired  by  BRITISH  EXHIBITORS  FILMS,  LTD., 
8-9,  Long  Acre  ::  ::  LONDON,  W.C.  2. 

1  9  ONE-REEL  MODERN  SONG  STORIES. 

Acquired  by  CAPITOL  FILMS,  LTD., 

83,  Wardour  Street,  LONDON  W.C.  2. 

9  REEL  DRAMA, 

^  “  CRUSHING  THE  DRUG  TRAFFIC.” 

Acquired  by  BRITISH  EXHIBITORS  FILMS,  LTD., 
8-9,  Long  Acre  ::  ::  LONDON,  W.C. 2. 


WE  HAVE  OTHER  NOVELTIES 
MAY  WE  PRODUCE  A  SERIES 

MASTER’S  FILMS,  LTD.,  Weir  House 


10 


June  3,  1922 


THE  MOTION  PICTURE  STUDIO 


REELS  DURING  THE  PAST 
HAVE  BEEN  PRE-RELEASED. 

ft  REEL  DRAMA, 
u  “TRAPPED  BY  THE  MORMONS.” 

Acquired  by  THE  FREDERICK  WHITE  CO., 

54,  Victoria  Street  ::  MANCHESTER. 

ft  REEL  DRAMA, 
w  "MARRIED  TO  A  MORMON.” 

Acquired  by  THE  FREDERICK  WHITE  CO., 

54,  Victoria  Street  ::  MANCHESTER. 

ft  REEL  DRAMA, 
u  “COCAINE.” 

Acquired  by  ASTRA  FILMS,  LTD., 

89,  Wardour  Street,  LONDON,  W.C.  1. 

t  O  ONE-REEL  OPERA  STORIES, 

“  TENSE  MOMENTS  FROM  GREAT  OPERAS.  ” 

Acquired  by  THE  GAUMONT  CO.,  LTD., 

6,  Denman  Street  ::  PICCADILLY,  W.l. 

IN  COURSE  OF  PREPARATION. 
FOR  YOU  I  —  WRITE  US  : 

Studios,  Broom  Rd.,  Teddington.  Kingston  1617. 


THE  MOTION  PICTURE  STUDIO 


PERCY  CLARBOUR'S 


CINEMA 


AGENCY 


HAS  REMOVED  TO 

PALACE  HOUSE, 

128,  SHAFTESBURY  AVENUE, 


Telephone  :  REGENT  2716. 


w.c. 


FACTS  THAT  SPEAK 
FOR  THEMSELVES. 


CHANNINGS, 

MISS  CHARITY, 
CROXLEY  MAStER, 
RODNEY  STONE, 
STELLA, 

HARD  CASH, 

ALL  THE  WINNERS, 
WILL  AND  A  WAY, 
HEAD  OF  THE 

FAMILY, 


FIFTH  FORM  AT 
ST.  DOMINIC’S, 

RIGHT  TO  LIVE, 

FROGGIE’S 
LITTLE  BROTHER, 

HANDY  ANDY, 

TANGLED  HEARTS, 

SHIPS  THAT  PASS 
IN  THE  NIGHT, 

SAM’S  BOY, 

Etc.,  Etc. 


Artistic  Films  Ltd., 

93  &  95,  Wardour  Street, 
London,  W.l 
March  10th. 

Dear  Mr.  Clarbour, 

I  want  to  thank  you  for  the  help  you  gave 
me  in  the  casting  of  the  two  W.  W.  Jacobs  pro¬ 
ductions:  “A  Will  and  a  Way”  and  “Sam's  Boy." 

Thanks  to  your  discrimination  and  under¬ 
standing  of  the  types  wanted  1  was  able  to  select 
artistes  who  were  admirably  suited  to  their 
various  roles. 

With  my  regards  and  thanks 
1  remain, 

Yours  sincerely, 

manning  Haynes. 


PERCY  CLARBOUR'S 
CINEMA  AGENCY. 


June  3,  19  2 
—  2 


SUNLIGHT  ARCS 

PORTABLE  GENERATOR 
BROADSIDE  LAMPS 
AND  SPOT  LAMPS 

SALE  OR  HIRE. 


DUNCAN  WATSON  &  CO., 


Telephone  : 
MUSEUM  2860. 


62,  Berners  St.,  W.l.  •! 


Telegrams : 
Kathode,"  London. 


UALITY 


Choice  assort¬ 
ment  of 
Sandwiches 

Delicious 
Ices  and 
Iced  Drinks 


Fruit  Salads 
and  Sundaes 


ORNER 


First  Floor 
23  GERRARDST., 
Shaftesbury  Avenue 
W.L 

( One  minute from! j 
Queen's  Theatre).  [ 


'<1 


12 


June  3,  1922 


THE  MOTION  PICTURE  STUDIO 


THROUGH  FRENCH  EYES 

by  E.  FLETCHER  .  CLAYTON. 

(“  Motion  Picture  Studio 


ANGLO- 

SWEDISH 

CO-OPERATION 

by  JOHN  TORNEQU  1ST 

When  the  Swedish  film  industry  looks 
to  England  to  establish  a  co-operation  of 
producing  films,  it  is  nothing  to  be 
astonished  about;  it  is  just  England  which 
Victor'  Seostrom  has  been  thinking  of  wnen 
he.  while  still  maintaining  the  national 
character,  wants  to  give  the  Swedish  film 
a  super-national  character  and  in  some  way 
internationalise  it. 

We  are  of  the  opinion  that  the  English¬ 
men's  view  of  things  is  the  same  as  cur  own, 
and  we  stand  in  a  closer  contact  with  the 
island  people  than  with,  for  instance,  the 
Germ;ans.  It  is  ‘the  responsibility,  the 
seriousness,  and  the.  correctness  of  the  Eng¬ 
lish  character  which  attracts  us  and  which 
always  has  served  as  a  model  for  the  Swedes 
in  general. 

W  hat  here  is  said  about  the  English  nation 
may  just  as  well  apply  to  the  English  actor. 
He  has  something  in  his  appearance  which 
makes  a  sympathetic  impression  on  a 
character  like  ours.  About  six  months  ago 
the  English  film  “Carnival”  was  given, 
with  Matheson  Lang  as  leading  man.  It  was 
a  piece  of  acting  standing  on  a  high  level, 
which  was  very  much  appreciated.  His 
Othello  was  human  and  intelligent,  and  when 
we  later  saw  the  prominent  German  actor, 
Emil  Jannings,  in  the  part  of  a  Moor  in  a 
German  Othello  film  we  were  unable  to  avoid 
making  comparisons,  which  are  absolutely 
to  the  favour  of  the  English  actor. 

Matheson  Lang  is  this  summer  going  to 
play  the  leading  man  in  a  great  film  directed 
by  Victor  Seostrom.  It  is  a  film  with  points 
cf  contact  with  “  Carnival,”  a  drama  of 
jealousy.  The  acting  artistes  may  belong  to 
any  nation.  When  Matheson  Lang  now, 
for  the  first — let  us  not  say  the  last — time 
nuts  his  talent  in  the  service  of  the  Swedish 
film,  on  Swedish  ground  (as  the  film  is 
going  to  be  played  in  Sweden)  he  plays  a 
part  which  is  worthy  of  him. 

Matheson  Lang  is  the  first  instance  of  the 
co-operation  which  the  Swedish  film  trade 
wants  to  establish  more  and  more  intimately 
with  England.  In  the  summer  we  trust  to 
be  able  to  engage  another  artiste — an  Eng¬ 
lish  actress. 


SEAL  FILMS 
PROGRAM 

The  Seal  Company’s  intention  is  to  pro¬ 
duce,  approximately,  four  features  during 
inis  year.  They  will  be  on  the  lines  of  the 
last  three  productions,  “  Dick’s  Fairy,” 
“  Jessica’s  First  Prayer,”  and  “  Little 
Meg’s  Children.”  Bert  Wynne  is  convinced 
that  the  morbid  type  of  film  now  being  pro¬ 
duced  and  shown  in  this  country  must  ulti¬ 
mately  harm  ihe  British  Industry,  and  with 
this  in  mind  W.  Millward  and  T.  H.  Davies 
are  determined  to  place  on  the  British  screen 
stories  that  will  appeal  to  all  classes  and 
ages. 

It  is  the  intention  of  Seal  to  engage  legiti¬ 
mate  screen  actors  only  for  forthcoming  pro¬ 
ductions,  as  it  is  convinced  that  they  have  a 
much  ’  greater  appeal  to  the  provincial  audi¬ 
ence,  who,  in  Seal’s  opinion,  are  the  best 
judges  of  the  British  films  to-day. 


JJjXCEPTINCi  through  the  medium  of 
the  Press,  in  the  form  of  Trade 
news  and  occasional  notes,  not  very 
much  is  known  to  British  studio-  Workers 
of  what  goes  on  amongst  their  very  near¬ 
est  foreign  neighbours  and  friends.  Film 
importers  and  dealers  generally  know 
most;  but  British  directors  and  artistes 
know  practically  nothing,  owing  to  lack 
of  contact.  There  could  be  nothing  more 
desirable  in  the  interest  of  kinematc- 
grapihy  in  Europe,  than  something  in  the 
nature  of  a  rapprochement  between 
the  British  and  the  French  film  indus¬ 
tries.  It  is  safe  to  affirm  that  such 
would  be  welcomed  on  both  sides. 

The  possibility  of  such  a  union  of  com¬ 
bined  interest  and  action  could  only  come 
about  if  it  were  found  that  effective  com¬ 
mercial  relationships  could  be  estab¬ 
lished.  Mutual  interest  in  kinema,  art 
'alone  would  (no*  ble  effective .  The 
whole-hearted  support  of  the  great 
financiers  on  both  sides  of  the  Channel 
is  needed,  and  they,  as  business  men, 
would  Want  to  know  the  possibilities,  and 
profitable  ones  at  that,  of  an  interchange 
of  British  and  French  films,  of  “cross- 
0, vers”  and  mutual  workings  between 
directors,  artistes,  cameramen  and  all 
concerned  on  both  sides. 

Sometimes  the  wail  is  sent  up,  both 
in  England  and  in  France,  that  the  film 
industry  does  not  receive  the  financial 
support  that  it  ought  to  have.  This  is 
rather  a  digression  from  the  main  theme 
of  this  article,  but  it  will  serve  to  show 
that  conditions  in  France  are  similar  to 
those  in  England.  Both  countries  are 
working  in  film  production  under  diffi¬ 
culties. 

The  big  financiers,  always  ready  to  put 
money  into  profitable  enterprises  -rather 
than  ventures  of  a  speculative  nature,  re¬ 
main  practically  unmoved.  The  reason 
that  the  British  financiers  remain  impas¬ 
sive  may  probably  be  because  they  think 
that,  even  on  a  small  scale  (as  one  judges 
a  cloth  by  examining  a  little  sample),  the 
films  produced  by  the  various  companies 
in  the  industry  do  not  appear  to  have  a 
quality  likely  to  bring  adequate  returns 
for  a  heavy  financial  outlay. 

The  brilliant  exceptions  are  few  and 
far  between.  The  British  film,  judged 


’’  Representative  in  Paris) 

by  the  standard  of  production  of  other 
nations,  is  regarded  by  these  financiers 
as  being  very  largely  in  the  experimental 
stage,  and,  in  the  meantime,  they  know 
that  they  can  place  their  money  more 
profitably  in  other  industries.  They  are 
not  patrons  of  art,  but  money-makers. 

Such,  at  any  rate  in  France,  is  prob¬ 
ably  the  real  explanation  of  the  lack  of 
financial  support.  Financiers  have  not 
yet  sufficient  faith  in  the  film  producers’ 
genius,  capability  as  producers,  and  head 
for  business.  They  know  that  .the  direc¬ 
tors’  idea  is  generally  to  spend  money. 
A  financier  never  spends  money ;  he 
makes  use  of  it.  Financial  embarrass¬ 
ment  curtails  expansiveness,  and  tends  to 
conservatism.  So  the  French  industry 
keeps  much  to  itself. 

In  P'rance,  the  general  situation  is 
much  the  same  as  in  England,  only  that 
there  would  appear  to  be  rather  more 
activity.  PYench  business  men  in  the 
film  industry  (I  am  not  thinking  of  big 
financiers)  are  rather  mono  speculative 
than  the  English,  and,  when  they  pull 
through,  their  reward  is  great.  One  of 
them  has  recently  given  his  orders  for 
the  production,  and  that  on  a  generous 
scale,  of  (about  a  /dozen  films,  jail  of 
which  will  probably  be  finished  this  year. 
It  is  a  large  and  risky  outlay;  but  the 
chances  are  much  more  for  than  against 
success. 

It  is  the  practice  of  several  of  the 
French  film  producing  companies  to 
make  the  director  (or  directors)  take  a 
percentage  of  his,  or  their,  earnings  out 
of  the  profits  on  the  exploitation  of  the 
film  or  films.  They  sometimes  leave  the 
entire  work  of  ordering  the  construction 
of  settings,  the  hiring  of  costumes  and 
properties,  etc.,  to  the  producer;  and  he 
is  made  responsible  for  his  opinions  upon 
the  selection  of  artistes  and  their  con¬ 
tracts  with  the  producing  company. 

Thus  the  director’s  inclination  (very 
strong  in  an  artist,  as  such  is  credited 
with  being),  to  “  splash  about  ”  with 
other  people’s  money,  is  curtailed ;  for  he 
knows  that  if  the  company  should  lose 
upon  the  nroduction,  so  does  he  himself. 
His  artistic  soul  is  kept  to  earth  by  busi¬ 
ness  conditions,  and,  while  he  really  has 
a  free  hand,  less  money  is  wasted. 


FLORENCE  WOOD 

Now  at  Liberty  for  Sta&e  or  Kinema. 

SYMPATHETIC,  COMEDY  OR 
CHARACTER. 

Mrs.  Gaythorne  in  “The  Law 
Divine”  (Masters),  Madame  Lam- 
balle  in  “  Perpetua  ”  and  Joan’s 
Mother  in  “The  Spanish  Jade” 
(F.-P.  Lasky.) 

34,  Nevern  Square,  S.W.5. 

’ Phone  :  Western  1936. 


13 


THE  MOTION  PICTURE  STUDIO 


June  3,  1922 


The  Seal 

Film  Company 

d  •  ,  II  J.  Henry  Davies 
Proprietors  JwiUlam  yMiUward 


THREE  GREAT  SUCCESSES,  1921 


u 


DICK’S  FAIRY 


11 


REV.  SILAS  HOCKING. 


a 


JESSICA’S  FIRST  PRAYER 


11 


HESBA  STRETTON. 


U 


LITTLE  MEG’S  CHILDREN 


11 


HESBA  STRETTON. 


WATCH  OUR  PRODUCTIONS  FOR  1922. 


Sole  Direction : 

BERT  WYNNE. 


Telephone  :  REGENT  5326. 


SEAL  FILM  CO,t 

181,  WARDOUR  STREET,  W.l 


14 


June  3,  1922 


THE  MOTION  PICTURE  STUDIO 


THROUGH  THE  IMPARTIAL 

EYE 

by  MILES  MANDER,  F.R.G.S. 


TITLES 

Are  printed  or  hand-written 
the  best  ? 

by  FRANK  KEYES 

7"HY  this  mistaken  idea  that  the  printed 
letter  is  so  infinitely  superior  to  hand¬ 
lettering  by  a  competent  man?  It  does  not 
seem  to  be  generally  realised  that  every 
drawing,  design  and  letter  which  appears  in 
print  first  has  to  be  drawn  by  hand.  (There 
is  no  machine  that  will  design  and  draw.) 

The  drawing  or  lettering  has  then  to  be 
reproduced  by  a  more  or  less  mechanical 
process,  usually  involving  photography 
(process  reproduction). 

Modern  process  reproduction  has  attained 
a  very  high  level  of  quality.  It  is  possible, 
nowadays,  to  reproduce  a  design  very  faith¬ 
fully — in  fact,  the  reproduction  in  some  cases 
may  be  almost  as  good  as  the  original. 

With  a  printed  title  you  have  all  the  lack 
of  elasticity  which  is  inseparable  from  a 
mechanically  repeated  form — and  a  more  or 
less  imperfect  reproduction  of  what  is 
originally  a  hand-drawn  type.  In  other 
words,  your  lettering  is  second-hand,  with 
the  following  handicaps  (among  others)  : — 

(1)  Each  letter,  being  on  its  own  piece  of 
type,  makes  any  “  locking  ”  or  overlapping 
of  the  type  almost  impossible,  and  severely 
limits  the  employment  of  decorative  flourishes 
or  other  ornaments. 

(2)  Uneven  “  spacing,”  both  in  (a)  the  body 
of  individual  words,  and  (b)  in  the  general 
“  layout  ”  is  almost  inevitable.  Obvious 
examples  of  -(a)  occur  always  in  such  words 
as  : 

BUILT  AVAILABLE  VACCINATION 
when  set  in  capitals.  Minor  instances  are 
just  as  jarring  to  a  discerning  eye. 

(3)  It  is  a  very  difficult  matter  to  obtain  a 
really  good  “black  and  white”  from  a 
printed  title,  because :  (a)  In  the  case  of  using 
the  negative  as  the  positive,  and  taking  a 
black  on  white  title,  the  “  halation  ”  and 
“evening  lighting”  difficulties  crop  up;  (b) 
the  titles  must  be  printed  on  boards  owing  to 
the  pressure  required  to  transfer  the  white 
lettering ;  (c)  it  is  not  yet  possible  to  print  a 
really  clean-edged,  photographically  white 
letter  on  a  matt  black  ground. 

Do  not,  readers,  think  that  printed  titles 
are  a  weak  link  in  the  chain  of  a  production. 
They’re  not  even  cheaper  ! 


FLASH  BACKS 


Our  chief  want  in  life  is  somebody  who 
can  make  us  do  what  we  can.— Emerson. 

A  friend  should  be  like  money — tried 
before  required,  not  found  faulty  in  need. 
—Plutarch. 

Wherever  duty  calls  him  and  binds  him 
down,  there  a  man  may  be  happy. — Norton. 

A  great  many  people  exhaust  themselves 
getting  ready  to  do  something  which  they 
they  never  do. — Marden. 

A  person  may  cause  evil  to  others  not 
only  by  his  actions  but  by  his  inactions. — 
Mill. 

The  country  is  lyric,  the  town  dramatic. — 
Longfellow. 

Poor,  and  content,  is  rich.— Shakespeare. 

You  must  learn  to  deal  with  the  odd  and 
even  in  life  as  well  as  in  figures. — Eliot. 

Life  does  not  come  in  lifetimes,  but  only 
a  day  at  a  time. 


fil^HERE  is  no  one  particular  element  mili- 
A  fating  against  success.  It  is  rather  a 
question  of  ‘.lie  existence  of  a  series  of 
delinquent  features  and  the  paucity  of  other 
necessary  attributes.  Let  us  briefly  outline 
the  position. 

It  must  be  admitted  that  the  Americans 
have  always  specialised  in  various  forms  of 
public  entertainment.  Although  kinemato- 
graphy  was  invented  by  an  Englishman  and 
first  exploited  by  the  French,  the  Americans 
were  not  slow  to  see  the  tremendous  com¬ 
mercial  possibilities  in  this  new  form  of  en¬ 
tertainment.  Financial  support  for  public 
entertainment  was  never  lacking  in  the 
States,  as  has  always  been  the  case  in  this 
country.  With  the  methodical  tenacity  born 
of  |a  cosmopolitan  'blooded  population,  and 
an  admixture  of  Latin  art  assimilation,  the 
Industry  increased  by  leaps  and  bounds 
until  the  war  gave  them  their  chance  to 
forge  well  ahead  of  competitors. 

It  is  probably  a  fact  that,  if  it  had  not 
been  for  the  war,  the  Germans  would  be 
leading  the  world  in  the  matter  of  film  pro¬ 
duction  to-day ;  indeed,  even  as  it  is,  I 
know  no  film  like  the  German  for  spectacular 
effects.  The  praiseworthy  effort^  of  the 
Italians  cannot  touch  them.  Although  the 
British  public  is  now  tiring  of  the  ordinary 
American  feature  film,  it  still  looks  to  them 
for  the  majority  of  big  super -features.  The 
Yankee  partiality  for  ostentation  and  the  in¬ 
correctness  of  their  English  scenes,  are  be¬ 
ginning  to  irk  a  trifle,  but  I  do  not  think  that 
we  can  hope  to  compete  with  them  until 
production  over  here  is  properly  organised. 

“Jimmy  ”  White  recently  described  the 
Trade  in  this  country  admirably  when  he 
said  we  were  living  from  hand  to  mouth. 
At  various  centres  in  America  there  exist 
film  colonies,  the  inhabitants  of  which  are 
continually  and  for  ever  in  the  environment 
of  motion  picture  production.  They  talk 
films  all  day  and  they  dream  of  films  all 
night,  and  it  is  only  natural  that  they  have 
reduced  film  production  to  a  very  fine  art. 
These  film  colonies  have  developed  into  vir¬ 
tual  schools  of  production,  not  the  pernicious 
kinema  academies  that  we  know  over  here, 
but  little  worlds  where  each  member  of  the 
community  is  imbrued  with  the  studio 
atmosphere. 

Here  in  England  we  have  no  such  natural 
school.  To  attempt  to  learn  anything  about 
production  in  this  country  is  like  going  to 
a  school  of  cookery  to  learn  Latin.  Film 
production  cannot  be  acquired  by  rote,  but 
essentially  from  -a  process  of  absorption  by 
an  artistic,  imaginative  and  preferably  emo¬ 
tional  temperament,  blessed  with  immense 
sensibility,  and  by  \he  serious  study  of 
aestho-physiology. 

Again,  until  the  Kinema  Club  was  formed 
a  short  time  ago,  there  was  no  institution 
in  this  country  at  which  members  of  the 
profession  could  meet.  Artistes  have  rarely 
had  any  support  from  producing  companies. 
You  must  create  popular  stars  before  you 
can  make  popular  pictures.  To  make  stars 
popular  they  must  have  wide  publicity  com¬ 
bined  with  beauty  and  screen  talent. 

Wide  publicity  means  spending  money, 
and  “there’s  the  rub,”  but  by  no  means  the 
only  one.  As  the  English  artiste  usually 
has  to  pay  for  his  or  her  own  publicity, 
and  as  the  majority  of  artistes  in  this 
country  are  impecunious  people,  it  is  obvious 
that  the  struggle  to  get  on  as  an  artiste  over 
here  is  an  extremely  difficult  one. 

The  Americans  went  through  a  phase  of 
boosting  the  author,  as  someone  conceived 


the  idea  that  it  would  be  cheaper  and  per¬ 
haps  as  efficacious  as  paying  enormous  sums 
advertising  the  various  stars.  I  notice  that 
they  have  recently  come  to  the  conclusion, 
which  should  have  been  obvious,  that  the 
personality  of  an  author  cannot  hope  to  get 
over  like  the  personality  of  the  artiste. 

The  same  lack  of  cohesumTapplies  also  to 
the  directors,  who,  until  quite  recently,  were 
scattered  broadcast  over  England,  and  only 
met  if  they  happened  to  be  working  in  the 
same  studio. 

The  much  vaunted  question  of  finance  has 
of  course,  a  great  deal  to  do  with  the  in¬ 
feriority  of  English  pictures,  but  there  have 
been  several  instances  which  I  could  quote 
where  unlimited  m.oney  has  been  forth¬ 
coming.  In  these  cases,  unfortunately,  the 
directors  have  failed  for  the  most'  part  to 
come  up  to  scratch  ;  imagination,  education 
or  ability  has  been  lacking.  A  union  of  the 
right  man  and  the  right  money  has  still  to 
be  effected. 

It  is  proverbial  that  the  English  are  not 
an  artistic  race  as  a  whole,  and  this,  I 
am  afraid,  is  indisputable.  A  people  that 
wdl  feign,  appreciation  or  even  tolerate  clas¬ 
sical  music  whilst  they  are  feeding  must  be 
despaired  of  in  art.  Underlying  the  average 
American  character  is  a  partiality  for  what 
we  English  call  “sloppy”  sentiment.  Sen¬ 
timent  may  be  sloppy ;  it  may  be  anything 
you  like  to  call  it.  It  is,'  nevertheless, 
founded  on  heart  lure,  which  is  present  in 
the  composition  of  most  of  the  peoples  of 
the.  world,  although  perhaps  less  markedly 
so  in  the  stoical  Anglo-Saxon.  Cut  out  Mel- 
villian  sentimentality,  but  let  us  have  refined 
sentiment. 

Italian,  French  and  Swedish  pictures  have 
not  as  yet  cut  much  ice  outside  their  country 
of  origin.  Although  some  very  fine  produc¬ 
tions  have  been  made  in  these  countries,  their 
psychology  and  the  unmanly  gestures  of  the 
male  actors  do  not  present  an  attractive 
appearance  to  the  English.  Personally,  I 
have  never  yet  seen  a  French  picture  which 
I  found  pleasing,  although  -the  acting  is 
usually  good  from  the  French  standpoint. 

I  may  be  quite  wrong,  but  it  always  ap¬ 
peared  strange  to  me  that  the  majority  of 
directors  should  be  allocated  their  subject 
and  should  then  employ  another  man  to 
write  the  scenario,  which  may  be  totally 
unsuited  to  the  director’s  temperament  I 
know  if  ever  I  go  in  for  production  I  shall 
not  try  to  elaborate  ideas  which  are  con¬ 
ceived  in  someone  else’s  brain. 

Undoubtedly  directors  are,  as  a  whole, 
badly  served.  Although  our  cameramen 
have  a  lot  to  learn,  they  in  turn  are  handi¬ 
capped  by  the  inadequate  lighting  arrange¬ 
ments  that  exist  in  most  English  studios. 
When  w-e  do  see  a  pretty  English  girl  on 
the  screen  she  is  invariably  wrongly  lit. 
Heavy  eyes,  wrinkled  features,  etc.,  appear 
the  order  of  the  day,  chiefly  owing  to  bad 
lighting,  and  her  right  and  wrong  photo¬ 
graphic  angle  is  rarely  studied. 

Casting  is  another  direction  in  which  we 
go  astray ;  it  is  so  often  faulty  and  some¬ 
times  mars  an  otherwise  creditable  film. 

Colleagues  of  the  studio,  we  have  a  long 
way  yet  to  go.  The  way  is  arduous,  and 
those  that  cannot  rise  to  the  occasion  must 
fall  out.  Give  the  financier  who  next  ap¬ 
pears  on  the  horizon  a  run  for  his  money, 
and  you  will  find  he’ll  come  again.  The 
industry  has  no  place  for  incompetency.  The 
game  is  sufficiently  speculative  without  that 
element,  which  has  for  so  long  been  sapping 
its  vitality. 


15 


THE  MOTION  PICTURE  STUDIO 


June  3,  1922 


A  QUESTION  OF  FAITH 

by  CHRISTABEL  LOWNDES-YATES 


IIS  number  completes  the  first  year  | 
of  the  Motion  Picture  Studio — a 
paper  that  stands  firmly  for  British  films. 
From  its  first  number  it  has  steadily  and 
wisely  upheld  the  British  Screenplay.  It 
has  given  encouragement  and,  when 
necessary,  criticism,  but  it  has  always 
had  the  essential  fire  of  faith  in  the  future 
of  the  British  film.  Of  how  many  other 
journals  can  that  honestly  be  said  ? 
Most  of  those  published  to-day  are  extra¬ 
ordinarily  international.  Nearly  all 
publish,  as  a  matter  of  course,  interviews 
and  articles  in  which  the  foreign  film  is 
upheld  more  from  the  fact  that  it  is 
foreign  than  from  any  technical  ex¬ 
cellence.  So  many  people  think  that  it  is 
clever  to  extol  work  because  it  bears  the 
imprint  of  a  country  not  their  own. 

The  general  public  is  beginning  to  see 
through  such  futilities.  It  wants  to  see 
good,  clever,  unhackneyed  work  of  any 
and  every  type  ;  but  had  England  put 
out  work  of  the  character  one  constantly 
sees  praised  in  the  Press  because  of  its 
foreign  origin,  then  the  English  picture 
trade  would  not  have  so  many  faithful 
believers  as  she  has  even  to-day. 

However,  some  of  her  own  people  are 
not  blind  to  what  is  happening  to-day  in 


the  film  trade  in  this  country.  The  com¬ 
pany  directors,  the  film  directors,  the 
writers,  the  star  artistes  and  the  rank  and 
file  have  been  for  some  time  slowly  and 
steadily  evolving  the  essentially  British 
picture — a  complete  thing  that  can  come 
from  no  country  but  this,  and  is  as 
decisively  national  as  the  Swedish  picture 
is  of  Sweden. 

The  British  Trade  has  so  far  produced 
no  more  than  the  germ  of  the  great  thing 
that  will  come  to  life  in  the  future  ;  but 
so  far,  in  spite  of  the  pessimists,  it  is 
vitally  alive.  When  it  is  fully  developed 
the  British  picture  will  be  something 
new  in  the  Art  of  the  Screen  and  far 
bigger  than  anything  we  have  seen  yet 
from  any  source.  I  can  see  the  men  who 
think  in  dollars  and  bank  drafts  smiling 
at  such  a  statement,  but  I  am  not  speak¬ 
ing  primarily  of  dollars,  though  the  type 
of  picture  I  have  in  mind  will  bring  both 
money  and  power  and  other  things  in  its 
train.  But  the  greatest  thing  in  the 
world  to-day  is  not  money  ;  it  is  the  force 
behind  the  money. 

But  while  some  of  the  men  and  women 
have  been  evolving  the  germ  of  the 
British  Film,  working  bravely  and 
courageously  as  all  pioneers  must,  other 


noisy  people  have  been  talking.  The 
world  has  always  had  its  builders  and  its 
destroyers,  but  surely  the  latter  gentry 
have  never  been  so  much  in  evidence  as 
to-day.  These  destroyers  are  great  talkers. 

Some  of  them  are  outsiders  whose  words 
carry  no  weight  with  people  who  matter. 
Others  are  men  of  importance,  men  with 
great  names  who  will  be  quoted  far  and 
wide  as  disparagers  of  British  films.  Such 
men  are  so  obsessed  by  the  comparatively 
advanced  state  of  the  kinema  in  other 
lands,  that  they  cannot  see  the  excel¬ 
lencies  of  production  in  their  own. 

It  is  said  that  in  the  great  reign  of 
Victoria  it  used  to  be  the  fashion  to 
disparage  the  young  merely  because  they 
were  young,  and  as  such  could  never  be 
the  Great  Men  their  fathers  were.  Yet 
these  young  people,  slighted  then,  are 
the  great  men  of  to-day,  and  we,  from  the 
vantage  point  of  this  age,  have  relegated 
many  of  these  old  men’s  theories  to  the 
scrap-heap. 

To  those  great  men  who  disparage 
British  films  on  public  occasions,  at 
dinners  and  other  meetings  where  their 
speeches  are  reported  in  the  Press,  I 
would  say  :  “  Have  faith  in  your  own 
work.  If  it  isn’t  worth  it,  make  it  so. 

If  you  can’t,  throw  it  up  altogether.” 

The  general  public  is  weary  of  hearing 
of  the  greatness  of  America  on  the  grounds 
that  it  can  afford  to  wreck  real  trains  or 
can  build  studios  into  which  the  sun 
never  enters,  and  then  fake  it  with  such 
cleverness  that  it  appears  like  real  sun¬ 
shine  to  all  but  experts.  Such  things 
are  not  Art.  They  have  nothing  to  do 
with  the  real  making  of  greatness.  The 
great  pictures  they  have  made  in  America 
are  not  dependent  on  things  like  that.  It 
is  the  man  behind  the  picture,  not  the 
machinery  that  makes  or  mars  it. 

There  are  plenty  of  people  to-day  who 
believe  in  British  pictures  both  over 
here  and  in  other  countries.  If  they  did 
not  they  would  not  fight  so  hard  to  keep 
her  out  of  the  world  markets.  Of  the 
great  American  picture  organisations, 
how  many  of  those  that  have  made 
Screen  history  would  have  attained  their 
present  position  without  English  brains 
and  English  organisation  ?  You  who 
are  not  behind  the  scenes  have  no  con¬ 
ception  of  how  much  America  owes  to 
these  islands.  You,  gentlemen,  who  are 
reported  in  the  Press  as  belauding 
foreign  efforts,  have  faith — faith  in  your 
own  pictures— faith  in  your  own  screen 
future. 

You  cannot  expect  people  to  invest 
money  in  a  commercial  proposition  if 
your  friends  after  dinner  are  busy  telling 
them  that  what  you  are  offering  is  no 
good.  What  is  wanted  in  the  British 
Trade  is  faith.  A  man  can  survive  hard 
times,  hard  luck,  anything  and  every¬ 
thing  until  he  loses  faith  in  himself.  But 
to  lose  faith  is  to  lose  all.  What  is  true 
of  the  man  is  true  of  the  Trade.  Let  the 
British  Film  Trade  believe  in  its  future 
and  all  will  be  well.  It  is  entirely  a 
question  of  faith. 


REMOVING  OBSTACLES  IN  PAST  YEAR 

by  J.  Stuart  Blaekton. 


THERE  are  many  obstacles  in  the  path  of  progress,  but  the  greatest  that  confronts 
the  British  Film  Industry  is' a  general  lack  of  confidence.  The  average  British 
director  lacks  confidence  in  his  own  product.  He  would  like  to  sell  his  films  in  every 
country  in  the  world,  but  does  not  really  believe  that  he  can  sell  them  anywhere  outside  of 
the  United  Kingdom.  He  therefore  invests  in  his  productions  only  as  much  capital  as  can 
be  returned  to  him,  with  a  small  profit,  out  of  the  United  Kingdom. 

The  head  of  a  large  British  film  producing  company  recently  stated  to  me  that  this  was 
the  policy  of  his  company.  From  a  strictly  business  point  of  view  such  a  policy  may  be 
very  wise,  but  it  does  not  tend  towards  an  international  market  for  British  films.  The 
banks,  financial  jnterests  and  investors  of  capital,  knowing  full  well  that  this  “  lack  of  con¬ 
fidence  ”  exists,  are  not  disposed  to  risk  their  money  in  what  appears  to  be  a  half-hearted 
enterprise. 

In  a  recent  interview,  “  Jimmie  ”  White  speaks  of  the  “  hand  to  mouth  ”  way  in  which 
the  British  Film  Industry  is  carrying  on,  and  makes  the  statement  that  “  the  financial  position 
of  the  Trade  is  pathetic.”  The  financial  position  of  the  Trade  in  England  is,  indeed,  sadly 
different  from  existing  conditions  in  France,  Italy  and  Germany.  Since  November,  1918, 
these  three  countries  have  been  forging  steadily  ahead,  and  their  picture  producing  has  been 
financed  by  big  banking  institutions  and,  in  some  cases,  by  Government  subsidies.  In 
America  the  banks  have  been  financing  the  Moving  Picture  Industry  for  the  past  ten  years. 

Until  the  British  directors  demonstrate  to  the  investors  that  they  can  turn  out  pro¬ 
ductions  that  will  successfully  compete  with  the  films  of  other  countries  in  the  world’s  market, 
the  investors  will  “  lack  the  confidence  ”  to  put  their  money  in  films.  Until  film  directors 
receive  the  necessary  financial  support  they  cannot  produce  films  which  will  successfully 
compete  with  other  countries  for  the  world’s  market. 

The  obstacle  is  apparent.  How  is  the  obstacle  to  be  removed  ? 

It  has  been  demonstrated  during  the  past  year  that  outstanding  film  productions  can 
be  made  in  England  by  British  directors.  It  has  been  demonstrated  that  these  super-films 
are  welcomed  in  the  American  market  and  the  other  markets  of  the  world,  and  hold  their 
own  with  the  best  of  the  world’s  product.  These  productions  were  not  cheaply  made.  They 
were  financed  in  most  cases  by  individuals  or  the  directors  themselves. 

I  have  been  told  that  British  financial  interests  are  waiting  to  have  demonstrated  to  them 
that  British-made  films  can  be  marketed  at  a  profit  in  other  countries  ;  and  I  believe  that 
when  the  facts  concerning  the  few  recent  internationally  successful  British  productions  are 
brought  by  responsible  parties  to  the  direct  attention  of  reliable  investors,  the  “  lack  of 
confidence  ”  will  be  overcome  and  the  greatest  obstacle  removed. 

I  am  more  optimistic  than  ever  about  the  future  of  British  films.  Their  production, 
sale  and  exhibition  constitute  one  of  the  greatest  industries  of  modern  times,  and  the  fourth 
greatest  industry  now  in  America.  In  the  interests  of  British  commerce,  British  capital 
cannot  much  longer  afford  to  ignore  the  opportunities  the  kinema  offers. 


16 


June  3,  1922 


THE  MOTION  PICTURE  STUDIO 


WALTER  WEST 
AT  WORK 


AN  ANGLO-ITALIAN 
COMBINATION 


J-pOR  the  last  (few  months  the  Prince’s 
Studios  at  Kew  have  been  a  veritable 
hive  of  industry.  Early  in  the  New  Year 
the  studio  was  taken  over  by  Walter  West 
Productions,  since  when  no  less  than  three 
five-reel  films  have  been  made.  The  first, 
entitled  “  Scarlet  Lady,”  was  a  rac.ng  film 
founded  on  an  original  story,  in  which 
Violet  Hopson  played  the  leading  part  with 
Lewis  Willoughby  opposite  her.  This  added 
yet  another  to  the  long  list  of  sporting  films 
which  Mr.  West  has  produced,  a  British 
type  of  production  in  which  he  has  special¬ 
ised. 

On  the  completion  of  this  film  he  turned 
his  attentions  once  more  to  the  industrial 
world  as  a  background  for  an  interesting 
love  story^  written  by  Paul  Trent,  in  “When 
Greek  .Meets  Greek.”  Violet  (Hopson  plays 
the  heroine  in  this  production,  with  Stewart 
Rome  co-starring. 

Following  this,  Mr.  West  once  more  sought 
the  racecourse  as  an  inspiration,  and  has 
Just  completed  “  Son  of  Kissing  Cup  ” — a 
sequel  to  his  previous  success,  “  Kissing 
Cup’s  Race.”  Starring  Violet  Ho.gson  and 
Stewart  Rome,  this  film  will  contain  an 
uninterrupted  film  representation  of  this 
year’s  Derby.  The  story  has  a  novel  turn, 
which  is  warranted  to  prove  a  big  surprise 
to  the  most  hardened  kinemagoer,  for  the 
horse  which  is  favourite  for  the  big  race  is 
lost  on  the  road  to  the  course,  despite  the 
fact  that  the  motor  conveyance  is  carefully 
guarded  and  no  one  sees  the  disappearance 
of  the  precious  cargo 

Walter  West  Productions  (which  for  the 
next  two  years  will  be  distributed  by 
Butcher’s  Film  Service)  announce  a  big  pro¬ 
gram,  on  which  iMr.  West  will  be  engaged 
in  this  country  until  October. 

His  next  vehicle  will  be  a  film  version  of 
“The  White  'Hope,”  from  the  novel  by  W.  R. 
Trouibridge,  with  Violet  Hopson  and  Stewart 
Rome  as  stars.  This  novel  was  first  filmed 
in  the  early  days  of  the  British  Industry, 
and,  strangely  enough,  both  Violet  Hopson 
and  Stewart  Rome  appeared  in  the  same  parts 
as  those  in  which  they  will  play  when  Mr. 
West  directs  the  new  version.  It  will  be 
interesting  to  compare  the  two  renderings. 

Following  this,  Mr.  West  announces  “The 
Hornet’s  Nest,”  “The  Pruning  Knife,”  and 
“In  the  Blood,”  all  of  which  are  from  the 
pen  of  Andrew  Soutar.  This  program  Mr. 
West  hopes  to  have  completed  by  October, 
when  he  leaves  for  the  south  of  France, 
where  he  will  direct  during  the  winter 
months. 

The  studio  at  Kew  Bridge,  the  actual  floor 
space  of  which  measures  117  ft.  by  75  ft., 
is  one  of  the  most  satisfactorily  equipped  in 
England.  Mr.  West  has  had  installed  every 
modern  device  which  can  help  towards  the 
technical  perfection  of  a  film.  The  organisa¬ 
tion  is  probably  equal  to  that  obtaining  in 
any  Amer#:an  studio. 

Although  not  of  the  magnitude  of 
some  of  the  larger  studios,  equip¬ 
ment  for  every  possible  set  is  at 
hand.  The  property  room  contains  almost 
everything  from  a  fountain  pen  to  a  Persian 
prayer  mat,  whilst  the  lighting  installation 
is  the  most  modern,  and  probably  the  best, 
in  any  English  studio. 

Situated  as  the  studio  is,  almost  every 
type  of  English  scenery  is  available  within 
a  few  hours’  car  run,  and  in  his  two  latest 
productions  Mr.  West  has  introduced  the 
English  countryside  and  glimpses  of  our 
foremost  industries. 

“When  Greek  Meets  Greek  ”  is  due  for 
Trade  showing  early  this  month. 


by  CH  IkVALIER  ARRIGO  BOCCHI,  Motion  Picture  Studio 

Representative  for  Italy 


HAVE  always  advised  the  English  film 
director  and  everybody  interested  in  the 
British  film  industry  that  a.  new  outlay  for 
their  productions,  is  in  this  country.  They 
have  the  advantage  to-day  of  the  public  over 
(here  being  tired  and  very  bored  with  the 
American  films  that  have  flooded  this  country. 
If  the  Americans  had  not  rushed  in  and  sold 
films  at  any  price  just  f.o  take  the  country 
and  market  by  storm  they  would  not  have 
bored  the  public  to  desperation.  To-day  the 


English  artistes  were  to  appear  in  the  various 
productions. 

I  thought  that  this  would  have  been 
grasped  as  a  great  opportunity  offered  to 
the  British  industry;  but,  alas,  all  my  efforts 
were  in  vain.  The  English  artistes  would 
have  been  received  in  quite  a  royal  way  here, 
as  the  .Italians  have  the  greatest  regard  for 
all  that  is  English,  although  several  English 
papers  try  to  tell  the  public  otherwise.  It^ 
only  for  England  to  start  having  some  Italian 


H . . PI 

j  RETREAT,  NOT  ADVANCE  | 

j  by  SIDNEY  MORGAN  j 

:  YY/ITH  very  few  exceptions  the  standard  of  production  in  the  past  : 

J  ”  year  did  not  reach  that  of  the  previous  one.  It  was  tainted  : 

|  from  the  start  by  opportunism,  an  unsatisfactory  foundation  for  a  \ 

:  permanent  business  and  fatal  to  any  thought  of  advance.  : 

:  Two  helpful  things  remain  in  my  year’s  memory.  • 

•  ,  Denison  Clift  has  shown  us  that  it  is  possible  to  play  dramatic  j 

:  scenes  to  their  full  value.  He  has  demonstrated  that  an  audience  : 

•  can  be  held  by  a  single  scene  for  1,000  feet.  • 

|  There  is  need  for  great  caution,  however,  in  taking  this  lead,  because  • 
:  in  order  to  spare  the  footage  for  this,  he  has  had  to  link  up  by  explana-  : 

:  tory  title,  and  fade  out  to  such  an  extent  that  there  is  a  danger  of  : 

j  the  film  becoming  like  a  play,  with  the  greater  part  of  the  action  taking  • 

|  place  off  the  stage.  : 

:  The  other  helpful  thing  was  “  Three  Live  Ghosts.”  Here  we  had  : 

|  the  picture  of  perfect  entertainment  value,  superlative  staging,  photo-  j 

:  graphy  and  acting.  A  story  of  such  variety  of  incident  and  character  j 

:  (a  little  far-fetched,  perhaps)  that  there  was  not  one  moment  that  did 

;  not  interest,  amuse,  excite,  or  intrigue.  j 

\  Generally  the  past  year  has  been  one  of  retreat,  not  advance.  If  we 
:  spend  the  present  year  re-organising,  we  shall  follow  our  national  : 

j  tradition  and  win  out  at  the  finish.  •  • 


m . . . . . s 


people  are  being  suffocated  by  these  films, 
and  a  rescuer  would  be  more  than  welcome, 
and  would  be  received  with  both  arms. 

I  do  not  agree  with  some  remarks  made  by 
a  well-known  man  in  the  kinema  world  about 
the  Italian  productions;  still,  there  is  no 
doubt  that  the  plot,  action  and  stories  of 
these  have  brought  about  the.  downfall  of 
Italian  films.  The  English^  scenarist  has 
followed  a  different  line  to  that  of  paganism, 
adultery  and  coarse  infidelity^,  and  I  feel  sure 
that  their  plots  would  be  a  relief  to  the 
minds  of  the  spectators,  especially  if  the  milk 
and  water  ones  are  not  sent  out  as  a  specimen 
of  British  productions. 

I  have  stated  over  and  over  again  that  a 
studio  organised  with  Anglo-Italian  element 
would  meet  with  great  success  in  this  country. 
I  have  made  several  proposals,  but  each  time 
they  have  been  rejected  as  absolutely  im¬ 
possible.  I  found  a  syndicate  which  was 
willing  to  put  up  two  million  lire  (Italian) 
if  the  British  side  would  in  its  turn  put  up 
one  million  lire  (Italian),  and  with  the  benefit 
of  the  exchange  this  would  have  been  a  mere 
song.  Of  its  own  free  will  it  would  have  put 
up  the  money  on  the  condition  that  the  prin¬ 
cipal  director  was  to  have  been  an  English¬ 
man,  and  that  no  less  than  three  or  four 


artistes  in  exchange,  and  they  would  find 
that  this  would  be  most  profitable,  as  the  two 
characters  would  blend  together  and  make 
a  new  attraction  in  kmematograph  art. 

It  is  not  true  that  the  different  languages 
would  be  a  drawback,  as  kinematography  is 
the  art  of  mimicry.  This  is  proved  by  the 
many  Englishmen  who  come  out  to  Italy, 
and  although  they  cannot  understand  a  word 
of  the  language,  nor  do  they  speak  it.  yet 
they  can  make  themselves  understood  by 
mimicry. 

There  would  be  great  scope  if  the  two 
countries  joined  together.  As  a  matter  of 
fact,  they  are  the  only  two  countries  whose 
characters  could  be  linked  together.  The 
German  is  too  hard,  and  lias  no  soft  lines, 
q he  Frenchman  is  too  boisterous,  too  excited, 
and  his  manner  is  so  exaggearted  that  in 
many  cases  it  becomes  painful.  The  Italian, 
on  the  other  hand,  is  a  born  mimic  ;  but  he 
must  be  calmed  down.  The  Englishman  is 
steady  and  calm ;  every  movement  is  thought 
out — therefore  the  combination  of  English 
and  Italian  would  be  a  wonderful  one.  1 
only  live  in  hope  of  seeing  my  thoughts 
materialise.  I  shall  only  be  too  willing  to 
give  my  humble  opinion  and  suggestions  to 
anybody  who  takes  up  this  enterprise. 


17 


THE  MOTION  PICTURE  STUDIO  June  3,  1922 


Stoll  s  Cricklewood  Studios. 

P 

A  Large  Floor 
to  Let  in  the 
Largest,  Most 
Modern  &  Best 
Equipped  Studios 
in  England. 

P 

All  Applications  to 

The  Stoll  Film  Go.,  Ltd., 

155/157,  Oxford  Street,  London,  W.l. 


18 


June  3,  1922  THE  MOTION  PICTURE  STUDIO 

IF  I  WERE  THE  EDITOR 


run  the  “Motion  Picture  Studio”  during  its  first  year. 


How  others  would  have 

By  FLORENCE  TURNER 
F  I  had  been  the  editor  of  the  Motion 
Picture  Studio  I  should  have  run  it 
■on  exactly  the  same  successful  lines  as  it 
lias  been  run. 

By  GEOFFREY  H.  MALINS,  O.B.E. 

1  ADMIRE  the  strategy  and  resource  of 
the  Editor  in  asking  this  question,  but 
it  is  impossible  for  me  to  improve  upon 
its  present  standard.  I  have  not  the  bite 
of  a  Bernard  Shaw,  the  cynicism  of  a 
Belloc,  the  grip  of  a  Sabatini,  the  majestic 
.style  of  Shakespeare,  or  the  vision  of  Dickens, 
so  I  fail  to  see  what  good  I  could  do. 

But,  on  the  other  hand,  perhaps  I  can 
convince  myself  that  I  am  a  Nortlieliffe — 
Why  not?  Others  have — and  failed. 

Then  again,  why  not  a  Beaverbrook ?  Ye 
Gods — why  not? 

But  no,  I  must 

....  from  the  dizzy  heights  of 
transcendental  power  descend,  into  the 
abyssimal  depths  of  worldliness  .... 

I  am  a  human  being.  Pure  and  simple — 
very. 

An  ordinary  British  Film  Director.  One 
of  those  mortals  who,  on  many  occasions 
are  thought  of  at  the  last  moment.  There¬ 
fore  as  such,  I  will  tell  you  what  I  would 
do  if  I  were  editor'. 

First  of  all,  I  would  not  fill  my  pages 
with  such  unbounded  optimism — certainly 
not.  My  pages  would  breathe  despair  in 
all  its  horrible  nakedness.  Despair  for 
our  directors.  Despair  for  our  authors. 
Despair  for  our  artistes;  in  fact, 
desnair  for  anything  British.  My  slogan 
would  be  “everyday  in  everyway  we  are 
getting  worse  and  worse."  Nobody  would 
believe  me,  I  know. 

Then,  again,  I  would  devote  a  full  page 


every  week  to  the  names  of  the  directors 
who  patronise  the  Kinema  Club.  The  half 
a  dozen  would  have  plenty  of  space  to 
spare.  But  you  never  know.  Others  might 
turn  up  some  day. 

Then,  for  a  change,  on  the  back  page  I 
would  state  that  all  the  companies  had 
completed  their  casting,  and  were  casting 
for  the  next.  I  feel  sure  that  I  should  get 
a  rise  for  being  truthful,  but  I  wouldn’t 
take  it. 

I  would  have  a  page  devoted  entirely  to 
the  opinions  various  agents  have  of  their 
artistes — and  what  the  artistes  think  of 
them.  What  a  rush  there  would  be  every 
Saturday  morning ! 

Six  pages  would  be  allocated  and  headed 
as  follows: — 

“  THE  SECRETS  OF  THE  STARS  ”  or 
“THINGS  SEEN  AND  UNSEEN.” 
“WHAT  WE  OWTE  AND  HOW  WrE  PAY  IT.” 
“SMOKING  ROOM  STORIES  AND  HOW 
THEY  ARE  TOED.” 

I  could,  of  course,  keep  on  indefinitely 
and  tell  you  how  I  should  edit  your  paper; 
but  being  a  director  I  am  an  extremely 
modest  person — and  on  second  thoughts'  I 
would  leave  it  as  it  is. 

It  started  its  life  under  the  most  un¬ 
favourable  circumstances;  the  marvel  of 
it  is  that  it  has  pulled  through,  and  for 
one  so  young  it  is  wonderful.  Its  purely 
British  policy  is  a  credit  to  all  concerned. 

Continue  your  great  work.  God  knows 
we  want  encouragement  and  help  bad 
enough.  We  are  fighting  hard  and  fast 
against  the  walls  of  prejudice,  but  as 
surely  as  day  follows  night  we  shall  break 
clear  and  triumph. 


Sound  co-operation  is  needed.  Strength 
of  purpose  and  oneness  in  despair — con¬ 
structive  thoughts  and  criticisms — whole¬ 
hearted  support  of  each  other — interchange 
of  ideas  and  learning — financial  support 
instead  of  financial  starvation. 

Then  the  status  of  the  British  Film  In¬ 
dustry  will  take  its  place  amongst  the 
highest  of  our  Empire,  and  a  place  of 
honour  throughout  the  world. 

By  ADRIAN  BRUNEL. 

RANKLY  I  cannot  think  of  any  fair 
criticism  of  the  Motion  Picture 
Studio.  Naturally  I  should  like  a  bigger 
paper  with  more  photographs,  but  I  realise 
that  such  things  can  only  be  the  reflection 
of  a  healthy,  prosperous  industry.  However, 
you  can  help  us  towards  prosperity  and  you 
are  one  of  the  few  forces  working  to  that 
end. 

There  is  another  line  of  propaganda  which 
British  directors  would  be  most  grateful  if 
you  would  undertake,  and  that  is  the  ques¬ 
tion  of  the  prohibitive  tax  on  negative 
which  we  are  subject  to  when,  having  taken 
scenes  abroad  in  order  to  get  local  colour 
and  so  improve  our  pictures,  we  bring  the 
exposed  stock  back  to  England. 

In  regard  to  the  pictures  I  have  been 
taking  in  Morocco  and  Spain,  the  negative 
tax  amounts  to  seven  hundred  pounds !  I 
am  informed  that  the  object  of  this  tax  was 
to  protect  the  home  industry  and  that  it 
was  never  intended  to  hit  us  in  the  way 
it  does.  Very  comforting  1 

The  arguments  for  the  adjustment  of  this 
Act  so  that  it  does  not  affect  British  firms 
are  obvious,  and  the  loss  of  the  Exchequer 
would  be  very  slight,  whereas  the  benefit 
to  our  producers  would  be  very  great  indeed. 


BILLIE  BRISTOW 

Press  A^ent 

i 

175,  WAR  DOUR 

LONDON 

Telephone 
G  e  r  ra  r  d 

2  4  0 


STREET 

w.  1 


19 


THE  MOTION  PICTURE  STUDIO 


June  3,  1922 


vv  a  SCENES  FROM  /  jr  // 

eel  Prince  y  L overS 

lumonts  9^ Vm  Version  0/ 


uimonis  VViim  Version 


Lady  Caioline  pi  ads  for  a  continuation  of  their  liaison. 


Above  :  Lady  Byron  requests  her 
husband  to  give  up  writing  poetry. 


Top  Centre  :  Lord  Byron  and 
Lady  Caroline. 


Right  Centre  :  Howard  Gaye  and  his  dog. 


Above  :  Byron  temporarily  suc¬ 
ceeds  in  tiring  his  wife  with  some 
of  the  warmth  of  his  own  passion. 


Below:  Lady  Caroline  attempts 
suicide. 


Lady  Bvron  oiscovers  Byron  in  the  midd'e  of  a  carousal.  Lord  a  d  Lady  Byron  separate  in  spite  of  the  pleading  of  his  ha’f-sister, 
ow  arc!  Gaye  as  Lord  Lyron,  Marjorie  Hume  as  Lady  Byron,  Mavis  Clare  as  Lady  Caroline  and  Mavis  Clare 
as  Byron  s  half-sister  in  the  latest  product  of  the  Gaumont  Studios  under  the  direction  of  Captain  Calvert. 


June  3,  1922 


THE  MOTION  PICTURE  STUDIO 


SCREEN  VALUES 


MEASURING  UP  THE  WEEK’S  PRODUCT 


Long  Odds. 

Stoll — Starring  Edith  Bishop  and  A.  E. 
Coleby — Supported  by  Airs.  E.  W.  Royce, 
H.  NichoJls  Bates,  Frank  Wilson,  Sam 
Marsh,  Sam  Austin,  Fred  Paul,  .Miss 
Grosvenor,  Harry  and  Sam  Marsh — 
Directed  by  A.  E.  Coleby — Scenario  by 
A.  E.  Coleby — Photography  by  D.  P. 
Cooper. 

]>  OUBTLESS_a  popular  story  and  picture, 
one  which  is  a  successful  booking  pro¬ 
position,  but  from  a  technical  point  of  view 
there  are  quite  a  number  of  small  faults  to 
Lc  found. 

The  story  is  intrinsically  episodic — in  fact, 
there  are  two  stories  told  by  the  film.  It  is 
with  the  story  and  the  continuity  that  the 
faults  are  to  be  found. 

As  a  director,  however,  A.  E.  C'olebv  does 
exceedingly  well,  getting  the  most  out  of  his 
ailistes  and  ihe  material  at  his  disposal. 

There  are  some  fine  racing  scenes,  which 
aie  well  worked  up  and  exciting  in  the 
extreme. 

The  British  screen  has  found  a  new  star  in 
Edith  Bishop,  who  was  the  success  of 

Long  Odds.’’  Miss  Bishop  photographs 
wonderfully  well,  and  is  an  actress  of  great 
ability.  As  the  girl  in  this  production  she 
pats  to  shame  the  work  of  many  of  the 
American  so-called  screen  stars.  This  is  her 
first  lead,  but  it  should  not  be  her  last. 

A.  E.  Coleby  can  always  be  depended  upon 
to  carry  through  a  part  in  excellent  style ; 
his  work  in  'his  film  is  no  exception  to  the 
rule. 

II.  Nichols-Bates  gives  a  satisfactory  inter- 
pietation  of  the  secretary. 

Ram  Austin  has  a  part  which  gives  him 
■very  little,  opportunity;  he  makes  the  best  of 
it,  however,  and  gets  it  over  in  a  convincing 
manner. 

Sam  Marsh  ,s  good  enough  in  the  ordinary 
straightforward  scenes,  which  only  require 
not  to  look  at  Ihe  camera,  but  in  the  scenes 
that  require  acting  he  is  useless,  or  nearly 
so.  His  riding  in  the  racing  scenes  is  ex¬ 
ceedingly  fine. 

Mrs.  E.  W.  Royce  is  very  good  as  Mrs. 
Granville,  Frank  Wilson  has  only  a  small 
part,  which  demands  little,  while  Fred  Paul 
makes  a  fine  villain  of  the  characteristic 
tvne. 

7  he  story  suffers  as  a  result  of  excessive 
padding.  The  theme  centres  round  a  certain 
racing  rule,  which  is  unknown  to  most 


EDWARD  D.  ROBERTS 

Now  producing'  — 

“The  Cause  of  all  the  Trouble.” 

"  1 

All  corns  : 

The  Albanian  Film  Co.,  4,  Victoria  Street, 
St.  Albans. 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M’LORD  OF  THE  WHITE  ROAD.” 

Address  : 

41.  Glasshouse  Street,  W.  L 

’Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  2131. 


people.  This  has  been  worked  up  .and 
padded  out  by  the  inclusion  of  one  or  two 
subsidiary  themes.  The  continuity  is  not 
good. 

D.  P.  Cooper  has  secured  some  fine  pic¬ 
tures  of  the  racing.  His  photography  is  with¬ 
out  fault  throughout. 

SUMMARY. 

Direction  :  Excellent. 

Leads  :  Admirable. 

Supports  :  Good. 

Literary  :  Story  discontinuous,  continuity 
p&tchy. 

Interiors  :  Fine. 

Exteriors  :  Well  chosen. 

Lighting  :  First  class. 

Photography  :  Remarkably  good. 

The  Pauper  Millionaire. 

Ideal — (Starring  C.  M.  Hallard — Directed  by 
Frank  Crane— Scenario  by  Eliot  Stan- 
nard. 

TYIREJCTOR,  scenarist,  artistes,  and 
cameraman  seem  to  have  conspired  to 
make  this  one  of  the  best  Ideal  productions 
vet.  offered.  And  they  have  succeeded.  On 
the  basis  of  an  exceptionally  interesting  story, 
skilfully  scenarised  by  Eliot  Stannard,  Frank 
Crane  has  built  a  photo-play  in  which 
humour,  tragedy,  and  romance  blend  ex¬ 
quisitely.  The  director’s  work  is  of  the 
highest  merit ;  his  master-mind  is  obviously 
behind  every  phase  of  the  production,  and 
hi.-;  casting  is  excellent. 

C.  M.  Hallard  makes  no  mistakes.  His 
characterisation  is  perfect  because  he  evi¬ 
dences  sympathetic  insight  into  the  emotions 
of  Rye-Smith- 

Unfortunately,  the  rest  of  the  cast  is  not 
named.  But  each  of  these  unnamed  players 
submit  performances  that  come  right  up  to 
the  general  level  of  excellence. 


Stannard  has  made  a  flawless  scenario  of 
a  good  novel,  and  the  director  has  preserved 
his  continuity  with  great  care. 

I  his  is  another  British  film  that  marks' 
the  undoubted  superiority  of  our  native 
cameramen.  Throughout  the  production  the 
photographic  work  is  of  the  best  description, 
and  considerably  augments  the  value  of  the 
film. 

SUMMARY. 

Direction  :  Excellent. 

Lead  :  Brilliant  performance. 

Supports  :  Everyone  an  artiste. 

Literary  :  Interesting  story  capablv 
adapted. 

Photography  :  Perfect. 

Lighting  :  Very  good. 

Interiors  :  Well  staged. 

Exteriors  :  Aptly  selected. 

V/ith  Father  s  Help. 

Pioneer — Starring  Peggy  Hyland — Supported 
by  Gibson  Gowland  and  Donald  Searle 
— Directed  by  Peggy  Hyland — Photo¬ 
graphy  by  Walter  Blakeley. 

'TPHIS  is  one  of  the  few  straight  comedies 
we  have  seen  which  contains  laughs ; 
it  is  entertaining  enough  for  all.  There  are 
one  or  two  minor  faults,  but  on  the  whole 
the  picture  is  a  really  excellent  product-  The 
comedy  is  not  so  much  dependent  upon  the 
situations  which  arise :  rather  is  it  due  to 
the  work  of  the  artistes. 

Peggy  Hyland  is  very  good  as  the  girl,  and 
sustains  her  part  in  a  natural  and  convinc¬ 
ing  manner. 

Gibson  Gowland  does  well  as  the  father. 

Undoubtedly  the  best  performance  of  all  is 
that  given  by  Donald  Searle.  His  man¬ 
nerisms  are  sure  of  getting  laughs. 

Walter  Blakeley’s  photography  is  good 
without  containing  any  startling  photo¬ 
graphic  innovations  and  novelties. 


MURIEL  ALLEYNE, 

Screen  Dramatist. 

In  collaboration  with  Christabel  Lowndes 
Yates. 

WINDSOR  HOUSE, 

AMERSHAM,  BUCKS. 


MARIE  AULT, 

Character  and  Comedy. 

Just  finished  third  engagement  with  Gaumont. 
Now  playing  M.  Tod  in  “  Wee  McGregor’s 
Sweetheart,”  for  Welsh-Pearson. 
Address  * 

FLAT  1,  235,  KING’S  ROAD,  CHELSEA 


ROMA  JUNE  BUREAU,  Ltd. 

H  ave  SOLD  the  Motion  Picture  Rights  in 

“THE  NEW  SIN” 

By 

.  BASIL  MACDONALD  HASTINGS. 


Other  Plays  by  this  well-known  Author 
are  available  on  application  to — 

ROMA  JUNE  BUREAU,  LTD., 

ANCASTER  HOUSE, 

42-43,  Cranbourn  Street,  Leicester  Sq.,  London,  W.C.2. 

Cables:  “Romajune,  London.”  Telephone:  Regent  2637. 


21 


THE  MOTION  PICTURE  STUDIO 


June  3,  1922 


TECHNICAL  EXPERTS'  ANNOUNCEMENTS 


WALTER  BLAKELEY 


Everything 
for  the 
Cameraman 


Model  “C"  Camera. 
Model  “M”  Tripod. 
Cut-off  Attachments. 
Filters.  Masks. 

REPAIRS 


Orbanora  fpouoe, 


89  -  91,  Wardour  Street, 

LONDON,  W.l- 


Telephone  — ■  Regent  2702 


G.  WOODS-TAYLOR 


Cameraman. 

Direction  F.  L.  GRANVILLE. 
Starring  Peggy  Hyland. 


10,000  miles  in  India  and  Burma  with 

H.  R.  H.  THE  PRINCE  OF  WALES, 

20,000  Feet  of  Film. 

Official  Kinemato&raphev  to  the  Government  of  India. 


22 


June  3,  1922 

THE  MOTION 

PICTURE  STUDIO 

MEN  who  "  TURNED  ON " 

the  YEAR'S 

FILMS  | 

Stanley  Mumford 

During  the  year  has 
been  in  charge  of  the 
Photographic  work  of 
all  Progress  Prodns .  : 

“  Lilac  Sunbonnet  ” 

“Little  World  Apart” 
“Wooing  of  April” 

“  Mayor  of  Casterbridge  ” 

“  Moth  and  Rust  ” 

“A  Lowland  Cinderella” 


Now  turning  on 

“Little  Miss  Nobody.” 


Address — 

PROGRESS  FILM  CO., 
Shoreham-by-Sea. 


ARTHUR 

KINGSTON 


Cameraman  to 

ALBANIAN 
FILM  CO. 


Late  of 

FAMOUS  -  LASK  V. 
PATHE’S,  Etc. 


KENNETH 

GORDON 

Acting,  Secretary  K.C.S. 

NOW 

PHOTOGRAPHING 

for 

Pathe's  Pictorial  and 
Eve's  Film  Review. 

JOHN  J.  COX 

44,  Barrowgate  Road, 

::  Chiswick,  W.4.  :: 

’Phone  :  Chiswick  294. 


T.  R.  THUMWOOD 

MASTER  FILMS,  LTD. 

Private  Address  : 

4,  Percival  Parade, 

Worcester  Park. 

PHIL  ROSS 

Cameraman — AT  LIBERTY. 

Late  of  Broadwest,  Harma,  Vanity,  etc. 

19,  Mayow  Road,  Forest  Hill, 
London,  S.E.23. 

FRANK  CANHAM 

Royal  Crystal  Palace  Hotel, 

London,  S.E.19. 

’Phone,  Sydenham.  1358. 


GEOFFREY  BARKAS 

IDEAL  FILMS,  LTD. 

> 

Address— IDEAL  STUDIOS, 

Boreham  Wood,  Herts. 


L.  G .  E  G  R  O  T 

EXPERT  CAMERAMAN. 

“  The  Better  ’Ole  ”  etc.,  “  Her  Benny  ”  etc., 
“  Land  of  My  Fathers.” 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Pla  ce,  S.W.2. 

’Phone:  Streatham  3085. 


HORACE  M.  WHEDDON, 

IDEAL  FILMS,  LTD. 

Private  Address  : 

“  LYNTON  HOUSE,” 

BOREHAM  WOOD,  HERTS. 


F.  HAROLD  BASTICK 

Late 

Lo  idon  Film  Co.,  Samuelson,  George  Loane 
Tucker,  Harold  Shaw,  etc. 

Now  Chief  Cameraman  Zodiac  Films 
Photographing  Walter  Forde  Comedies. 

All  comms. :  KINEMA  CLUB. 

(Reg.  2131). 


ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN- 
SCIENTIFIC  ::  OUTFIT. 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  Street,  W.C.2. 
’Phone — Regent  2131. 


Emile  L.  Lauste 

Cameraman  to  Mr.  G.  Pearson 
(Welsh— Pearson  Films) 

OPEN  TO  TRY-OUT  ANY  NEW 
SYSTEMS,  OPTICAL,  CHEMICAL, 
MECHANICAL  or  ILLUMINATING. 

Latest  Films  Photographed 
“  Garryowen,” 
“Nothing  Else  Matters,” 

“  The  Old  Curiosity  Shop,” 
“  Mary — Find — The — Gold,” 
“  Squibs,” 

“Mord  Emly.” 

Now  Photographing: — 

“  Wee  Macgregor's 

Sweetheart.” 

All  CommunLations  : — 

70,  WENDELL  ROAD, 
SHEPHERD’S  BUSH, 
LONDON,  W.l  2. 


23 


THE  MOTION  PICTURE  STUDIO 


June  3,  1922 


JOHN  EAST, 

14,  Iffley  Road,  Hammersmith,  W.  6. 
Ham.  1138. 


ARTHUR  CLEAVE, 

15,  Shepherd’s  Hill,  Highgate,  N.6. 

’Phone-  Hornsey  1784 


M  A  R  1  E  A  U  L  1, 

Character  and  Comedy. 

235,  King's  Road,  Chelsea, 


SYDNEY  N. 
FOLKER. 

JUVENILE. 

Leads  :  London,  Samuel- 
son,  Ideal,  Broadwest, 
etc.  103,  Fowlers  Walk, 
Ealing-,  W.5- 


OL  AF 
H  YT  T  EN, 

Leads  “Sonia,”  “The  Knight 
Errant,”  “Demos,”  “Money,” 
“Miss  Charity,”  “Knave  of 
Diamonds.” 
c/o  SIDNEY  JAY, 

181,  Wardour  St.,  W.l 


GORDON  BEGG 

Dramatic  —  Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.  11, 
1  elephone  :  Battersea  21. 


JACK  JARMAN 

•Juvenile,  Heavies  and 
Comedy. 

London,  Samuelson.  Broad- 
we.-t,  Masters,  S  oil. 

3 61 ,  Wymering  Mansions, 
Maida  Vale,  W.  9. 
’Phone:  Paddingion  4428. 


TONY  FRASER 

Specialities  : — Oriental  and 
Near  Eastern  Parts 
Just  finished  with  Stoll. 

“  Broken  Road,”  “  Four 
Feathers,’  “The  Lamp  of 
the  Desert.” 

OPEN  TO  OFFERS. 
Address — 18.  Leinster  Sq. 
W.2.  ’Phone — Park  4765 


REX  DAVIS 


JOHN  STUART. 


JUVENILE. 

Late — Samuelson,  Masters, 
Hardy,  Ideal,  etc. 
Cissburr  House,  Auckland 
Road,  Upper  Norwood, 
or  Kinema  Club 
(Regent  2131) 


BERT  DARLEY, 

Character, Juvenile  &Comedy 
Featured  in  “  The  Hidden 
Life,'  “  The  Husband  Hun¬ 
ter,”  “  The  Shuttle  of  Life,” 
“Burnt  in,”  “  The  Beggars 
Syndicate.”  “Laughter  and 
Tears,”  “  Our  Aggie,”  “  She 
Would  Be  Wicked.” 

31,  bt.  Augustine’s  Road, 
Camden  Square,  N.W.l. 


ERIC  GRAY 


as  the  Idiot  in 
“  Four  Men  in  a  Van.” 

Care  of 
Kinema  Club. 


JUVENILE  LEADS. 
Broadwest,  Screen  Plays, 
Glen,  Masters, 
l  atest  Productions: 

■  Sinister  Street  ”  1  lripni 

“The  Little  Mother,”  J  laedI’ 
33,  Acacia  Road,  St.  John’s 
Wood,  N.W.8. 


MARY  ODETTE 

Latest  Films — 

“No.  5,  John  Street  ”  and 
“All  Roads  Lead  to  Calvary.” 
Latest  Releases — “As  God 
Made  Her,”  “  The  Double 
Event ’’and  “Cherry  Ripe” 
(Kenelm  Foss  Production), 
All  corns.  :  Sidney  Jay, 

181,  Wardour  Street. 

Reeent  4  329. 


WALTER  FORDE 

Comedian. 

ZODIAC  FILMS, 
LTD. 

All  corns.  : — c/o  Motion 
Picture  Studio . 


GEOFFREY 

BENSTEAD, 

CHARACTER  LEAD. 
Horseman,  Athlete,  Stock¬ 
whip  Expert,  Axeman  Stunts, 
etc. 

At  Present  Controlling 
BAND  Z  PRODUCTION 
“REPENTANCE.” 


D.  R.  OVERALL 
HATSWELL 


ENA 

BEAUMONT 

Leads  in  “The  Greater  Love,” 
“  The  Golden  Web  .”  “  All  the 
Winners,”  “  Patricia  Brent, 
Spinster,”  “Our  Girls  and 
Their  Physique,”  “Settled  in 
Full,”  “  Watching  Eyes,”  etc. 
Corns,  c/o  Bramlin’s  Agency, 
241,  Shaftesbury  AvenUe,  W. 


David  Grey. 

Jun.  Straight  or  Character. 

Address  — 18a,  Brixton 
-Road,  S.W. 

’ Phone  — 

Brixton  2366. 


BROOKSBANK 

WALTON 

Heavy  &  Character  Leads, 
Assistant  -  Director  and 
Cameraman,  Yachtsman, 
Motorist,  Horseman,  etc. 

F.  P.-Lasky,  Stoll,  Ideal, 
Hardy.  Master,  etc.,  etc, 
c/o  MOTION  PICTURE 
S 1  UDIO. 


IRENEE  CRAVEN 

LEADS. 

Dignified,  Social, 
Sporting  characters. 
Three  years’  experience. 
Address  :  49a,  Clanricarde 

Gardens,  Bayswater.  W.2. 
’Phone  :  Park  1622. 


MOLLY  ADAIR 

Offers  Invited.  Leads. 

'  Gladys  In 

"The  Gamble  in  Lives  ”  (B.&C.) 
Stella  in  “Stella"  (Masters) 
Marv  in 

“The  Beryl  Coronet”  (Stoll) 
Jenny  Rose  In 

'•  The  Puppet  Man  ”  (B.&C.) 
Sylvia  Scarlett  In 

“Sinister  street”  (Ideal 
18,  STANSLAKE  VILLAS,  W.12 


Open  for  offers.  Manly 
Juvenile  Leads. 

Address  —  The  Old  Manor 
House,  East  Molesey. 
'Phone  :  Molesey  72- 


SYDNEY  WOOD, 

Juv.  Leads  in  “  The  Warri  >  > 

Strain.”  “Her  Benny,”  “  Ever 
Open  Door,”  “  Bars  of  Iron,” 
“The  Flame,”  “The  Will,” 
“Double  Event.”  “David  and 
Jonathan,”  etc  Address  ; 
The  Laurels  Beverley  Road, 
Anerley,  S.E. 

’Phone  :  Chancery  7080-7081. 


IRENE 

MATHEWS. 


Character,  Emotional  and 
Comedy. 

Alliance.  Ideal,  Stoll. 

16,  Trentishoe  Mansions, 

90,  Charing  Cross  Rd.,  W.C.2 
’Phone:  Gerrard  1176. 

Photo  hij  Navana. 


MILES  MANDER, 

Light,  Heavy  and  Juv.  Leads, 
Modern,  aristocratic.  Exten¬ 
sive  wardrobe.  All-round 
athlete. 


Address,  3,  Clifford  St..  W.l, 
’Phone  :  Regent  1327. 


LILIAN 

DOUGLAS, 


EVELYN 

BRENT 

Latest  Productions, 

“  Demos,”  “  Sonia,” 

“  Laughter  and  Tears,”  etc 
At  present.  Famous  i’.-L. 
Bus.  toms.,  Sidney  Jay, 
181,  Wardour  Street,  W.l 
Regent  4329. 


C.  TILSON- 

CHOWNE 


LEADS. 

Stoll,  Broadwest.  Alliance. 
Screen  Plays,  Samuelson, 
Masters,  Ideal,  etc. 

Address: — 21,  Westbourne 
Street,  W.2. 

’Phone  :  Paddington  641 


MALCOLM  TOD 

-  juvenile  Leads. 

'The  Bachelor’s  Baby  ’(Granger 
Davidson),  Trade  Show  June, 
Completed  playing  in  ”  Expia¬ 
tion  ”  Stoll).  Just  completed 
lead  in  Quality  Films  onereeler. 

AT  LIBERTY. 
Address:  The  Kinema  Club, 
Regent  2131.  Private  ’Phone 
No.  Western  6832. 


HARRY  J. 
WORTH. 


Playing  in 

“  A  Sailor  Tramp.” 
Welsh  Pearson. 
Offers  invited  to  follow. 
’Phone:  Regent  2131, 


MARGARET 

HOPE, 

Character  &  Juvenile  Leads. 

Late  Ideal,  Masters,  Stolls, 
etc.,  etc. 

42,  Blandford  Square, 
Marylebone,  N.W.l. 
Phone:  Padd.  7111. 


Just  completed  second  lead 
in  “PERPETCJA”  (Famous 
Players.  Lasky). 

At  present  Walter  West 
Sole  Agent,  Picture  Plays. 
Sid  Jay.  18'.  Wardour  St. 
Phone-  Regent  4329. 


24 


June  3,  1922 


THE  MOTION  PICTURE  STUDIO 


ARTISTES  .  .  . 


“THE  LITTLE 
BROTHER  OF 
GOD  ’ 

Featuring 

VARIES,  AM  I  EL, 
NICKAWA 
as  Jean  Marie. 
(Stoll). 

Swimmer  and  Horseman. 

Reference  : 

Colonel  W.  F.  Cody 
(Buffalo  Bill). 

Address  : 

60,  Godolphin  Road, 
Shepherd’s  Bush,  W.12. 


% 

JACK  MITCHELL. 

LEADS. 

Parkstone  Film  Productions. 
Juveniles.  Character,  Light 
Comedy. 

OPEN  FOR  OFFERS. 

All  corns.  : 

c/o  Motion  Picture  Studio. 

FRED  WRIGHT. 

The  Crazy  Hunchback 
in  the  colour  film 
‘‘The  Glorious  Adventure,” 
Covent  Garden  Theatre. 

THE  COPSE, 

WEST  DRAYTON, 
’Phone  ,•  Yiewsley  82,  or 
Kinema  Club, 

DAISY  BURRELL 

Just  finished  plaving  lead  in 
‘‘Cinderella’’  panto. 

Last  Film  :  Star  part  in 
*'  Pride  of  the  Fancy.  ’ 

OPEN  TO  OFFERS. 
39,  Avonmore  Road, 

West  Kensington. 
’Phone  :  Western  675. 


LILIAN 

HALL  DAVIS. 

JUVENILE  LEADS. 
Samuelson,  Ideal,  Gra¬ 
ham  Wilcox,  etc.,  etc. 

All  corns.  :  Sidney  Jay, 
181,  Wardour  St.,  W.l. 
Regent  4329 

■nip  -  j 

Jpi  ] 

■I 

p-  fQ  ’H* 

*?  JBk 

;  it  ~rr-  M SB 

f  n, 

'  fW 

LEIGH 

GOODE 

Just  completed  light  juv. 
B.  G.  Productions. 

All  corns.  : 

“The  Wigwam,’’  Thames 
Ditton  Island,  Surrey. 

FRED  HOWARD 

Dramatic  or  Humorous 
Leads. 

Boxer,  Wrestler,  Horseman, 
Swimmer.  Motordriver,  etc. 
Now  Starring  in  “Down  on 
the  Farm  ”  (Alldith  Films). 
Address:  1.  Blenkarne  Road, 
S.W.ll. 

yIL  JfjnL 

THELMA 

MURRAY 

Character  &  Emotional  parts 
Just  finished  work  in  “Crea¬ 
tion”  for  Raleigh  King  Films, 
now  playing  lead  for  Masters. 
All  corns  :  “LYNDALE  ” 
OAKLEY  RD. 
WHYTELEAFE,  SURREY, 
or  to  the  Kinema  Club. 

ARTISTES  . 


MOIRA 

VERNEY. 


“AN  ENGLISH 
VENUS.” 

Gaumont,  F.  P.-Lasky, 
Masters,  Phillips, 
Figure  Special. 

All  corns.  : 

do  MOTION  PICTURE 
STUDIO 


EVA  LLEWELLYN, 


Mother  and  Character  parts. 
London  :  Stoll,  British  Actors, 
B&C  Barkers,  Samuelson, 
Gaumonts, 

Aunt  Martha  in  “  A  Ray  of  Sun¬ 
shine,”  Hagar  in  “St.  Elmo,” 
Miss  Fairley  in  “MordEm’ly” 
(Welsh  Pearson),  “Mrs.  Willow 
Weeps,”  Walter  Forde  Comedies. 
39.  GLOUCESTER  GDNS..W.2. 
Phone  494  Padd..  and  at  the 
Kinema  Club.  Recrent  2131. 


DONALD 

NEVILLE 

JUVENILE, 

Light  Comedy  Lead  :  The 

Bridge.”  Just  finished  with 
B.  G.  Film  Productions. 
NOW  OPEN  TO  OFFERS. 
All  corns. :  82,  St.  Georges 
Road,  South  Belgravia. 
’Phone  ;  Victoria  2316. 


THIS  SPACE  TO  LET 
17s.  6d.  for  13  insertions 


M.A.WETHERELL 

LEAD, 

African  Film  Productions. 
LEAD, 
STOLLS. 

All  corns. : 

FRANK  ZEITLING, 

3.  Great  Windmill  Street, 

W.l. 


ALEC.  ALEXANDER 

Juvenile  Artiste.  Jnr. 

OFFERS  WANTED. 
All  corns.:  163,  Hackney 
Road,  E.2 

’Phone  :  Dalston  2583. 
or  KINEMA  CLUB, 
Regent  2131. 


NANCY 

SIMPSON 

Leads  in 

Australian  Productions. 
All  corns.  : 

12,  STANSFIELD  ROAD 
BRIXiON,  S.W9. 


MILTON  ROSMER 

INVITES  IMMEDIATE  OFFERS. 
Forthcoming  Releases — 

‘‘GENERAL  JOHN  REGAN”  (Stoll) 

“  ROMANCE  OF  WASTDALE  ”  ,, 

‘‘PASSIONATE  FRIENDS” 

‘‘WOMAN  OF  NO  IMPORTANCE”  (Ideal) 
16,  WEYMOUTH  STREET,  W.l. 
’Phone:  Langham  2243. 

LYDIA  HAYWARD. 

Adapting  Stories  by  W.  W.  Jacobs  for 
Artistic  Films, 

‘‘A  Will  and  A  Way,”  ‘‘Sam’s  Boy.” 
Part  author  of  original  story  “  Monty  Works 
The  Wires.” 

Address:  KINEMA  CLUB. 


ARTISTES  . 


JACK 

SELFRIDGE 

Juvenile  and  Character 
Leads. 

Late  Turner,  Edison, 
Samuel  on,  Master,  Stoll 
Film  Co.,  etc.,  etc. 

All  communicat  ons  to — 
Motion  Picture  Studio 


ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 
Character  Parts,  “  Mrs.  Gatty,”  in  “Christie 
Johnstone  ”  (Broadwest),  “  Margaret  Howe” 
in  “  Beside  the  Bonny  Brier  Bush  ”  (Lasky). 

55,  Campden  St.,  Kensington,  W.8. 

Tel.  :  Park  3623. 


CHARLES  LEVEY 

DISENGAGED. 

Permanent  Address  : 

15,  STOKENCHURCH  STREET, 


FULHAM, 

S.W.6. 

MARJORIE 

By  ..  W  l 

V1LLIS. 

Corns.  :  4,  Lyall  Street, 
Eaton  Square,  S.W.l. 

lip  Y  J| 

Iw  t*  i  Cl 

’  Phone  "•  Victoria  974. 

DIRECTORS  .  .  .  . 

GEOFFREY  H.  MAL1NS, 

O.B.E. 

Open  to  Engagement- 
Producer.  Latest  Productions  : 

“  The  Great-r  Love,”  “  Patricia  Brent,  Spinster,” 
“Settled  in  Full.”  ’'All  tie  'Vinners,”  “Watching 
Eyes,”  “Bluff,”  “The  Recoil,”  “  The  Scourge,”  etc. 

All  corns;  :  Kinema  Club,  9,  Gt,  Newport  St.,  W.C.2. 
Regent  2131. 

FOREIGN  OFFERS  INVITED. 


ALBERT  WARD, 

Producing  for  British  Super  Films. 

3,  Ranelagh  Grove.  S.W.l. 


To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
-SUPPLIED 

From  your  own  Photo,  in  best  glossy  style  : 
One  position  17  /6  per  gross. 

Two  positions  30/-  ,, 

PICTURES,  LTD.,  88,  Long  Acre,  W.C.2. 


SCENARISTS 


GERALD  DE  BEAUREPAIRE, 

Editing.  Titling,  Continuities 
62.  Foxbourne  Road,  Balham,  S.W.l  I. _ _ 

K  I  N  C  H  E  N  W  OOD, 

Scenarist, 

Late  Stoll  and  Wm.  Fox  Studios,  Los  Angeles. 
Address  : 

7,  WYMERING  MANSIONS. 
ELGIN  AVENUE,  MAIDA  VALE.  W 


25 


THE  MOTION  PICTURE  STUDIO  J^ne  3,  1922 

fyut&e  -of  1tfvL  “StZucLLo- 


PRODUCTIONS  AND  WHO 


STUDIO  DIRECTORY 

Addresses  and  ’Phone  Nos,  of  all  British  Studios 


,  Ideal. 


Hardy. 

Address:  13,  Gerrard  St.,  W.l. 
Film  :  “  The  Adventures  of  Billy 
Bunter.” 

Type  :  Comedy  Series. 

Stage  :  Casting. 

Hepworth. 

Studios  :  Walton-on-Thames. 
Film  :  “  A  Sister  to  Assist  ’Er.’ 
Director  :  Cecil  Hepworth. 
Stage  :  Starting. 


Address  :  Boreham  Woods,  Elstree, 
Herts 


Albanian  Film  Co. 

Studio  :  Barker’s,  Ealing. 

Film  :  “The  Cause  of  All  the 
Trouble.” 

Director  :  Edward  D.  Roberts. 
Stars  :  Flora  Le  Breton,  George  K. 

Arthur,  Olaf  Hytten. 

Cameraman  :  Phil  Ross. 

Stage  :  Third  week. 

Alliance  Film  Co. 

Sttdio:  St.  Margaret’s,  Twicken¬ 
ham. 

Film  :  “Love  and  the  Whirlwind. 
Director:  Harold  Shaw. 

Star  :  Clive  Brook  and  Marj  orie 
Hume. 

Cameraman  :  Phil  Hatkin 
Stage  :  Fifth  week. 

British  and  Colonial. 

Address  :  Hoe  Street,  Waltham¬ 
stow. 

Film  :  Historical  subjects. 
Director  :  Edwin  Greenwood. 
Stage  :  One  a  fortnight. 

British  International. 

Address  :  Windsor  Studios,  Cat- 
ford. 

Film  :  “  The  Price  of  Silence.” 
Director  :  Fred  Granville. 

Type  :  Five  reel  drama. 

Stage  :  Starting. 

British  Super  Films. 

Address  :  Worton  Hall,  Jsleworth. 
Film  :  “  The  Faithful  Heart.” 
Director  :  Fred  Paul. 

Stars  :  Owen  Nares  and  Lilian 
Hall  Davis. 

Cameraman  :  S.  Blythe. 

Type  :  Drama. 

Stage  :  Fifth  week. 

Davidson 

Film  :  Sporting  drama. 

Director  :  Arthur  Rooke. 
Cameraman  :  Leslie  Eveleigh. 
Stage  :  Starting. 

Diamond  Super  Production 

Studio  :  B.  &  C.,  Walthamstow. 
Film  :  “A  Rogue  in  Love.” 

Star  :  Gregory  Scott. 

Director  :  Albert  Brouett. 
Cameraman  :  L.  G.  Egrot. 
Stage  :  Third  week. 

Gaumont. 

Studio  :  Lime  Grove,  Shepherd’s 
Bush,  W.l 2. 

Film:  “Rob  Roy.” 

Director  :  Will  Kellino. 
Cameraman  :  A.  St.  Brown. 

Type  :  Historical  drama. 

Stage  :  Starting. 


Film  :  “  The  Life  of  Lord  Byron.” 
Director  :  Capt.  Calvert. 

Star  :  Howard  Gaye. 

Cameraman  :  Basil  Emmott  and  A. 
St.  Brown. 

Type  :  Super  production. 

Stage  :  Cutting  and  assembling. 

Ceorge  Clark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Film  :  “  Fox  Farm.” 

Director  :  Guy  Newall. 

Stars  :  Guy  Newall  and  Ivy  Duke. 
Stage  :  Second  week. 


Alliance  Film  Co.,  St.  Margaret’s-on- 
Thames.  ’Phone  :  Richmond  1945. 

Barker  Motion  Photography,  Ltd., 
Ealing  Green,  London,  W.5.  ’Phone  . 
Ealing  211  and  1582 — Barmopho,  Ealux. 

British  &  Colonial  Kinematograph 
Co.,  Ltd.,  Hoe  Street,  Walthamstow, 
E.  17.  ’Phone  :  Walthamstow  364 
and  712. 

British  International,  Windsor  Studios, 
Catford. 

British  and  Oriental  Films,  Ltd., 
Thornton  House,  Thornton  Road,  Clap- 
ham  Park.  ’Phone  :  Streatham  2652. 

British  Famous  Films,  Ltd.,  “Wood¬ 
lands,”  High  P'ai,  Whetstone,  N.20. 
Phone  :  Finchley  -  297. 

British  Photoplays,  Devon  Chambers, 
28  Fleet  Street,  Torquay, 

British  Super-Productions,  Worton 
Hall,  Isleworth.  ’Phone  :  Hounslow 
212. 

Broadwest  Films,  Ltd.,  Wood  Street, 
Walthamstow,  E.17.  ’Phone  :  Waltham¬ 
stow  399 - Broadwest  Films,  Wal¬ 

thamstow. 

Davidson,  I.  B.,  588,  Lea  Bridge  Road, 
Leyton,  E.10.  ’Phono,  Walthamstow  634 

Famous  Players-Lasky  British  Pro¬ 
ducers,  Ltd.,  Poole  Street,  New 
North  Road,  Islington,  N.l.  ’Phone  : 
Dalston  3704. 

Gaumont  Co.,  59,  Lime  Grove,  Shepherd’s 
Bush,  London,  W.12.  ’Phone  :  Hammer¬ 
smith  2090-1-2 - Prolougue,  ’Phone 

London. 

Granger — Binger,  Haarlem,  Holland. 
London  Office  :  Granger’s,  Exclusives, 
191,  Wardour  Street,  W.l.  ’Phone  : 
Gerrard  1081  and  1728.  Telegrams  : 
Exclugrang,  London. 

George  glare  Productions,  «7,  Berners 
Street,  W.l.  ’Phone  :  Museum  3012. 
Studio  :  Candlemass  Lane,  Bcaeons- 
field. 

Glen  Film  Producing  Co.,  Ltd.,  20, 
Lisle  Street,  London,  W.C.,  and  “  Bel- 
grave.”  Marine  Terrace,  Aberystwyth. 

Hardy  Film  Co.,  Worton  Hall,  Isleworth, 
Middlesex.  ’Phone  :  Hounslow  212. 
Barma  Clarendon  Co.,  16  Limes  Road, 
Croydon.  ’Phone  :  Croydon  921  and 
2084 - Cinemat. 


IS  WORKING 

Studio  Manager  :  F.  A.  Kendrick. 
Stage  Manager  :  F.  G.  Knott. 

Film  :  “  A  Pauper  Millionaire.” 
Director  :  Frank  Crane. 

Star  :  C.  M.  Hailard. 

Stage  :  Completed. 


F  ilm  :  “  A  Bill  of  Divorcement.” 
Director  :  Denison  Clift. 

Star  :  Fay  Compton. 

Stage  :  Second  week. 


International  Artists. 

Address:  57,  Shaftesbury  Av, W.l. 
Film  :  “  The  Lark’s  Gate.” 


Hepworth  Picture  Plays,  Ltd.,  Hurst 
Grove,  Walton-on-Thames.  ’Phone  : 

M  alton-on-Thames  16 - Hepworth 

Walton. 

Ideal  Film  Co.,  Ltd.,  Boreham  Wood 

Elstree,  Herts.  ’Phone  :  Elstree  52 - 

Idefllms,  Borehamwood. 

International  Artists  Film  Co.,  Ltd., 
52  Shaftesbury  Avenue,  W.l. 

Isle  of  M  an  Film  Co.,  The  Manx  Studios, 
Isle  of  Man. 

J.  Stuart  Blackton  Productions,  Bush 
House,  Aldwveh.  ’Phone:  Central  4048 

Kenneth  Graeme  Film  Syndicate,  3-5, 
Cecil  Court,  Charing  Cross  Road,  London 
W.C.  2.  ’Phone  :  Regent  4475. 

Lambart  Films,  Carlton  House,  Regent 
Street,  London,  W.  ’Phone:  Gerr.4040. 

Master  Films,  Weir  House,  Broom  Road 
Teddington.  'Phone  :  Kingston  1617. 

Minerva  Film  Co.,  Ltd.,  110,  Victoria 
Street,  S.W.l.  ’Phone  :  Victoria  7545. 

Progress  Film  Co. .The  Beach,  Shoreham- 
by-Sea,  Sussex.  ’Phone  :  Shorehain 
19. 

Raleigh  King  Productions,  Wateombe 
Hall,  Torquay. 

Regulus  Films  :  '48,  Carnaby  Street- 

Regent  Street,  W.l. 

Screenplays.  Ltd.,  Cranmer  Court,  High 
Street,  Clapham,  W. 4.  ’Phone:  Brixton 
2956. 

Seal  Productions,  181,  Wardour  Street, 
London,  W.l.  ’Phone  :  Regent  4329. 

Stoil  Picture  Productions,  Ltd..  Tem¬ 
ple  Road,  Cricklewood,  N.W.2.  Willes- 
den  3293 - Stollpic,  Crickle,  London. 

Thompson  Productions,  Hoe  Street 
Studios,  Walthamstow.  ’Phone  :  Wal¬ 
thamstow  364  and  712. 

Torquay  &  Paignton  Photoplays,  Ltd., 
Public  Hall,  Paignton,  S.  Devon. 

Union  Film  Co.,  Strand  Street, 
Liverpool.  ’Phone  :  Central  325 

Walter  West  Productions  :  Prince’s 
Studios,  Kew  Bridge,  Brentford,  Middle¬ 
sex.  ’Phone  :  Chiswick  574. 

Welsh,  Pearson  &  Co.,  41-45,  Craven 
Park,  Harlesden.  N.W.10.  ’Phone  : 
Willesden  2862. 


ON  THEM 

J.  Stuart  Blackton. 

Address  :  Bush  House,  Aldwych 
W.C. 

Film  :  “  Love’s  April.” 

Star  :  Georges  Carpentier. 
Director  :  J.  Stuart  Blackton. 
Stage  :  Starting  shortly. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington, 

Film  :  One  reelers. 

Director  :  H.  B.  Parkinson. 
Star  :  Sybil  Thorndike. 
Cameraman  :  Theodore  Thum- 
wood. 

Type  :  One  reelers. 

Stage  :  Scheduled. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 

Film  :  “  Little  Miss  Nobody.” 
Director  :  Wilfred  Noy. 
Cameraman  :  Si  Mumford. 

Stage  :  Fourth  week. 

Quality  Films. 

Address  :  Thornton  House,  Clap- 
ham  Park. 

Film  :  Pan  stories. 

Director  :  George  A.  Cooper. 
Cameraman  :  Randal  Terreneau. 
Type  :  One  reelers. 

Stage  :  One  a  week. 

Stoll. 

Address  :  Temple  Road.  Crickle¬ 
wood 

Studio  Manager  :  J.  Grossman.. 
Film  :  “  Running  Water.” 
Director  :  Maurice  Elvey. 
Cameraman  :  J.  J.  Cox. 

Stage  :  Nearing  completion. 


Film  :  “  Dick  Turpin’s  Ride  to 

York.” 

Star  :  Matheson  Lang. 

Director  :  Maurice  Elvey. 

Stage  :  Scheduled. 

Welsh  Pearson. 

Address  :  41-45,  Craven  Park*. 

Harlesden,  N.W.  10. 

Film  :  “  A  Sailor  Tramp.” 

Star  :  Victor  McLaglen. 

Director  :  F.  Martin  Thornton. 
Cameraman  :  Percy  Strong 
Stage  :  Thirteenth  week. 


Film  :  “  Wee  Macgregor’s  Sweet¬ 
heart.” 

Star  :  Betty  Balfour. 

Director  :  George  Pearson. 
Cameraman  :  Emile  Lauste. 

Stage  :  Fourteenth  week. 

Walter  West  Productions. 

Film  :  “  Son  of  Kissing  Cup.” 
Director  :  Waiter  West. 

Star  :  Violet  Hopson. 

Stage  :  Nearing  completion. 

Zodiac. 

Film  :  “  Walter  Wants  Work.”’ 
Director  :  Tom  Seamore. 

Star  :  Walter  Forde. 
Cameraman  :  M.  Rednap. 

Stage  :  Third  week.. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 

I  ’Phone  : 

REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W.  i 


26 


June  3,  1922 


THE  MOTION  PICTURE  STUDIO 


A  New  Artiste 


r 


OF  THE 


'First  Order 


Juvenile  Lead 

UGH  r, 

HEAVY, 
STRAIGHT  or 
CHARACTER. 


Femalesi 
g  Impersonator 

STRAIGHT  or 
CHARACTER. 


SHE 

PRESS  SAYS: 

THIS  ARTISTE’S 
WORK  IS 
CHARACTERISTIC, 
CONVINCING  & 
MOSTNATURAL” 

& 


ME 


; 


Cyril  Butcher 


All  Communications- 


IT 


Windsor  Cottage,  Portobello,  Edinburgh 
Available  End  of  July. 


27 


ANNETTE  BENSON 

Just  returned  from  Morocco ,  playing 

“  BROKEN  SAND.’’ 


lead  in 


Next  Release  ::  “ THE  MAN  FROM  HOME ”  ::  (F.  P. — Lasky). 


Printed  and  Published  bv  ODHAiVti  bKK.^s  Lid..  Lon*  Acre,  VV.C.2, 


juiic  3, 


“CORINTHIAN  JACK,” 

“LAUGHTER  AND  TEARS,” 

“BONNIE  BRIER  BUSH,” 

“LOST  LEADER,” 

“THREE  LIVE  GHOSTS,” 

“LONELY  LADY  OF 

GROSVENOR  SQUARE,” 

“  CREATION.” 


DOROTHY  FANE 


THE  MOTION  PICTURE  STUDIO 


June  io,  1922 


CAMERAMEN  .  .  . 


WHO’S  WHERE. 

Several  directors  nave  explained  to  us 
the  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 

ATWOOD,  ALBAN :  25,  Stanley  Crescent 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.li.  Battersea  21. 

BOSCO,  WALLACE,  97.  Kingsway,  East 
Sheen,  S.W.  14. 

BROOK,  CLIVE  :  12,  Abercorn  Place, 

N.W.  Hampstead  3083. 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS.  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W. 8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ESMOND,  ANNIE :  43,  Richmond  Road, 
Westboume  Grove,  W.2.  Park  854. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London.  S.W. 9. 

FANE,  DOROTHY  :  12A.  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225- 

GRACE,  ADELAIDE,  103,  Morshead  Man¬ 
sions,  Maida  Vale,  W.9. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 

LE  BRETON,  FLORA  :  care  of  Kinema 
Club,  9,  Gt.  Newport  St.  Reg.  2131. 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns., 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE.  4,  Northwick 
Terrace,  St.  John’s  Wood  Road  N.W.  8. 

NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Fianciscan  Road, 
Tooting,  S.W.  Streatham  264. 

RAYMOND,  JACK:  53,  Coldharbour  Lane’ 
Camberwell,  S.E.5. 

RAYNER,  MINNIE  :  King-water  Cottage, 
Churcn  Walk,  Thames  Ditton. 

ROME,  STEWART  :  10,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  all  corns.  Kinema  Club, 
Regent  2123. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres^ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL  :  62,  Upper 

Richmond  Road,  East  Putney,  S.W.  15, 
or  Kinema  Club. 

STEERMAN  A.  HARDING  :  56  Portland 
Road,  W.i  1.  Park  2529. 

STERROLD,  GERTRUDE:  14,  Queen’s 
Road.  St.  John’s  Wood,  N.W. 8. 

TREE.  MADGE  :  15,  Lancaster  Court,  New¬ 
man  St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Road) 
Barnes,  S.W. 13.  Putney  1945. 

Two  lines,  12s.  6d.  per  thirteen  insertions, 
or  £ 2  5s.  for  a  year,  prepaid. 

Extra  lines ,  is.  per  insertion. 


ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN- 
SCIENTIFIC  ::  OUTFIT. 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  Street,  W.C.2. 

’Phone — Regent  2131. 

JOHN  J.  COX 

44,  Barrowgate  Road, 

::  Chiswick,  W.4.  :: 

’Phone  :  Chiswick  294. 

P  H  1  L  ROSS 

Cameraman — AT  LIBERTY. 

Late  of  Broadwest,  Harma,  Vanity,  etc. 

19,  Mayow  Road,  Forest  Hill, 
London,  SE.23. 

GEOFFREY  BARKAS 

IDEAL  FILMS,  LTD. 

Address— IDEAL  STUDIOS, 

Boreham  Wood,  Herts. 

L.  G.  E  G  R  O  T 

EXPERT  CAMERAMAN. 

“  The  Better  ’Ole  ”  etc.,  “  Her  Benny  ”  etc., 
“  Land  of  My  Fathers.” 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W. 2. 

’Phone  :  Streatham  3085.* 

HORACE  M.  WHEDDON, 

IDEAL  FILMS,  LTD. 

Private  Address  : 

“  LYNTON  HOUSE,” 

 BOREHAM  WOOD,  HERTS. 

WALTER  BLAKELEY 

Cameraman. 

Direction  F.  L.  GRANVILLE. 
Starring  Peggy  Hyland. 

TO  LET, 

for  long  or  short  periods, 
fully  equipped  STUDIO  and 
WORKS,  within  half-an-hour 
of  West  End.  For  fullest  par¬ 
ticulars  and  terms  apply  : 

J.  LLOYD , 

9,  South  Molton  St.,  W.I. 

’Phone:  Mayfair  1011. 


MAURICE  P. 
THOMSON 

FROGGY 

in 

“  FROGGY’S  LITTLE  BROTHER  ” 

Produced  by  A.  E.  Coleby  (Stoll). 

Daily  Mail :  —  “  One  of  the 
greatest  Child  Actors  the 
Screen  has  yet  found.” 

All  communications  : — 

145,  CAVENDISH  BUILDINGS, 
CLERKENWELL  ROAD,  E.C.l. 


DIRECTORS  .  .  ■  .  . 


EDWARD  D.  ROBERTS 

Now  producing — 

“The  Cause  of  all  the  Trouble.” 

All  corns  : 

The  Albanian  Film  Co.,  4,  Victoria  Street, 
St.  Albans. 


RALPH  C.  WELLS 

Assistant  Director  to  Fred  Le  Roy  Granville, 
at  present  in  Tripoli  directing 

“THE  PRICE  OF  SILENCE” 
(original  Story  by  Ralph  C.  Wells) 


BERT  WYNNE, 

Director, 

SEAL  FILM  COMPANY. 


F.MARTIN  THORNTON 

Address— 84.  LEESIDE  CRESCENT, 
GOLDERS  GREEN,  N.W.  11. 
Producing  tor  Welsh  Pearson  Film  Co.  Ltd. 
Latest  Productions — “Belonging,”  “Frailty,” 
“Prey  of  the  Dragon,”  “Gwyneth  of  the 
Welsh  Hills,”  “  Lamp  in  the  Desert.” 

GEOFFREY  H.  MALINS, 

O.B.E. 

Open  to  Engagement. 

Producer.  Latest  Productions  : 

“  The  Greater  Love,”  “  Patricia  Brent,  Spinster,” 
“Settled  in  Full.”  “All  tl<e  Winners,”  “Watching 
Eyes,”  “Bluff,”  “The  Recoil,”  “ The  Scourge,”  etc. 

All  coins.  :  Kinema  Club,  9,  Gt.  Newport  St.,  W.C.2. 
Regent  2131. 

FOREIGN  OFFERS  INVITED. 


2 


June  io,  1922 


THE  MOTION  PICTURE  STUDIO 


BERT  DARLEY, 

Character,  Juvenile &Comedy 
Featured  in  “  The  Hidden 
Life,'  “  The  Husband  Hun¬ 
ter,”  “  The  Shuttle  of  Life,” 
“Burnt  in,”  “  The  Beggars 
Syndicate.”  “Laughter  and 
Tears,”  “  Our  Aggie,”  “  She 
Would  Be  Wicked.” 

31,  St.  Augustine’s  Road, 
Camden  Square,  N.W.l. 


ERIC  GRAY 

as  the  Idiot  in 
“Four  Men  in  a  Van.” 

Care  of 
Kinema  Club. 


JOHN  EAST, 

14,  Iffley  Road,  Hammersmith,  W.  6. 
Ham.  1138. 


JOHN  STUART. 


GORDON  BEGG 

Dramatic  —  Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.ll, 
Telephone :  Battersea  21. 


REX  DAVIS 


SYDNEY  N. 
FOLKER. 

JUVENILE. 

Leads  :  London,  Samuel- 
son,  Ideal,  Broadwest, 
etc.  103,  Fowlers  Walk, 
Ealing-,  W.5. 


OL  AF 
H  Y  T  T  E  N, 

Leads  “Sonia,”  “The  Knight 
F.rrant,”  “Demos,”  “Money,” 
“Miss  Charity,”  “Knave  of 
Diamonds.” 
c/o  SIDNEY  JAY, 

181,  Wardour  St.,  W,1 


JUVENILE  LEADS 
Broadwest,  Screen  Plays, 
Glen,  Masters. 

Latest  Productions  : 
“Sinister  Street,”  1  ij  i 
“The  Little  Mother,”  j  laeal’ 
33,  Acacia  Road,  St.  John’s 
Wood,  N.W.8. 


MARY  ODETTE 

Latest  Films — 

“No.  5,  John  Street”  and 
“All  Roads  Lead  to  Calvary.” 
Latest  Releases — “As  God 
Made  Her,”  “  The  Double 
Event  ”  and  “Cherry  Ripe” 
(Kenelm  Foss  Production), 
All  corns.  :  Sidney  Jay, 

181,  Wardour  Street. 

Regent  4329. 


ARTHUR  CLEAVE, 

15,  Shepherd’s  Hill,  Highgate,  N.6. 

'Phone:  Hornsey  1784. 


MARIE  AULT, 

Character  and  Comedy. 

235,  Kings  Road, Chelsea. 


JUVENILE. 

Late — Samuelson,  Masters, 
Hardy,  Ideal,  etc. 
Cissburv  House,  Auckland 
Road,  Upper  Norwood, 
or  Kinema  Club 
(Regent  2131) 


Open  for  offers.  Manly 
Juvenile  Leads. 

Address  —  The  Old  Manor 
House,  East  Molesey. 
'Phone  :  Molesey  72. 


D.  R.  OVERALL 
HATSWELL 


SYDNEY  WOOD, 

Juv.  Leads  in  “  The  Warrior 
Strain,”  “Her  Benny,”  “  Ever 
Open  Door,”  “  Bars  of  Iron,” 
“The  Flame,”  “The  Will,” 
“  Double  Event.”  “David  and 
Jonathan,”  etc  Address  ; 
The  Laurels.  Beverley  Road, 
Anerley,  S.E. 

’Phone  :  Chancery  7080-7081, 


TONY  FRASER 

Specialities  Oriental  and 
Near  Eastern  Parts. 

Just  finished  with  Stoll. 
“Broken  Road,”  “Four 
Feathers,’  “The  Lamp  of 
the  Desert,” 

OPEN  TO  OFFERS. 
Address — 18,  Leinster  Sq.. 
W.2.  ’Phone — Park  4765 


David  Grey. 

Jun.  Straight  or  Character. 

Address  — 18a,  Brixton 
Road,  S.W. 

’ Phone  — 

Brixton  2366. 


IRENE 

MATHEWS 

Character,  Emotional  and 
Comedy. 

Alliance.  Ideal,  Stoll. 

16,  Trentishoe  Mansions, 

90,  Charing  Cross  Rd.,  W.C.2 
'Phone  :  Gerrard  1176. 

_  Photo  hy  Navana. 


MARJORIE 

VILLIS. 

Corns.  :  4,  Lyall  Street, 
Eaton  Square,  S.W.l. 
’Phone:  Victoria  974. 


HARRY  J. 
WORTH. 

Playing  in 

“  A  Sailor  Tramp.” 
Welsh  Pearson. 
Offers  invited  to  follow. 
’Phone:  Regent  2131. 


IRENEE  CRAVEN 

LEADS. 

Dignified,  Social, 
Sporting  characters. 
Three  years’  experience. 
Address :  49a,  Clanricarde 

Gardens,  Bayswater.  W.2. 
'Phone  :  Park  1622. 


MARGARET 

HOPE, 

Character  &  Juvenile  Leads. 

Late  Ideal,  Masters,  Stolls, 
etc.,  etc. 

42,  Bland  ford  Square, 
Marylebone,  N.W.l. 
Phone  :  Padd.  7411. 


EVELYN 

BRENT 

Latest  Productions, 

“  Demos,”  “  Sonia,” 

“  Laughter  and  Tears,”  etc 
At  present.  Famous  P.-L. 
Bus.  Corns.,  Sidney  Jay, 
181,  Wardour  Street,  W.l 
Regent  4329. 


C.  TILSON- 

CHOWNE 

LEADS. 

Stoll,  Broadwest,  Alliance. 
Screen  Plays,  Samuelson, 
Masters,  Ideal,  etc. 

Address  : — 21,  Westbourne 
Street,  W.2. 

’Phone  :  Paddington  641 


GEOFFREY 

BENSTEAD, 

CHARACTER  LEAD. 
Horseman,  Athlete,  Stock¬ 
whip  Expert,  Axeman  Stunts, 
etc. 

At  Present  Controlling 
BAND  Z  PRODUCTION 
“REPENTANCE.” 


ENA 

BEAUMONT. 

Leads  in  “The  Greater  Love,” 
“  The  Golden  Web.”  “  All  the 
Winners,”  "  Patricia  Brent, 
Spinster,”  “Our  Girls  and 
Their  Physique,”  “  Settled  in 
Full,”  “  Watching  Eyes,”  etc. 
Corns,  c/o  Bramlin’s  Agency, 
241,  Shaftesbury  Avenue,  W.i. 


Juvenile  Artiste.  Jnr. 

OFFERS  WANTED. 
All  corns.:  163,  Hackney 
Road,  E.2. 

’Phone  :  Dalston  2583. 
or  KINEMA  CLUB, 
Regent  2131. 


LILIAN 

DOUGLAS, 


WALTER  FORDE 

Comedian. 

ZODIAC  FILMS, 
LTD. 

All  corns.  : — c/o  Motion 
Picture  Studio. 


MALCOLM  TOD 

Juvenile  Leads. 

•The  Bachelor’s  Baby  ’  (Granger 
Davidson),  Trade  Show  June, 
Completed  playing  in  “  Expia¬ 
tion ’’  Stoll).  Just  completed 
lead  in  Ouality  Films  onereeler. 

AT  LIBERTY. 
Address  :  The  Kinema  Club, 
Regent  2131.  Private ’Phone 
No.  Western  6882. 


JACK  JARMAN 


Juvenile,  Heavies  and 
Comedy. 

London,  Samuelson,  Broad¬ 
west,  Masters,  Stoll. 

161,  Wymering  Mansions, 
Maida  Vale,  W.  9. 
’Phone  :  Paddington  4428. 


ALEC.  ALEXANDER 


Just  completed  second  lead 
in  “PERPETUA”  (Famous 
Players -Lasky). 

At  present  Walter  West 
Sole  Agent,  Picture  Plays. 
Sid  )ay  18  .  Wardour  St. 
Phone  ■  Regent  4329. 


NANCY 

SIMPSON 

Leads  in 

Australian  Productions. 

All  corns. : 

12,  STANS  FIELD  ROAD 
HRIXTON,  S.W  e. 


THE  MOTION  PICTURE  STUDIO 


June  io,  1922 


ARTISTES  .  .  . 


“THE  LITTLE 
BROTHER  OF  ! 
GOD  ’ 

Featuring' 

VARIES,  A  MI  EL, 
NICKAWA 
as  Jean  Marie. 
‘(Stoll). 

Swimmer  and  Horseman. 
Reference  : 

Colonel  W.  F.  Cody 
(Buffalo  Bill). 

Address  : 

60,  Godolphin  Road, 
Shepherd’s  Bush,  W.12. 


§Sk  *■ 

raHr 

•-I 

HHr  f  • 

M.A.WETHERELL 

LEAD, 

African  Film  Productions. 
LEAD, 
STOLLS. 

All  corns. : 

FRANK  ZEITLING, 

3.  Great  Windmill  Street, 

W.l. 

FRED  WRIGHT. 

The  Crazy  Hunchback 
in  the  colour  film 
‘‘The  Glorious  Adventure,” 
Covent  Garden  Theatre. 

THE  COPSE, 

WEST  DRAYTON, 
’Phone ;  Yiewsley  82,  or 
Kinema  Club, 

r~  _ _  »  ; 

'i? 

DAISY  BURRELL 

Just  finished  plaving  lead  in 
‘‘Cinderella  ”  panto. 

Last  Film  :  Star  part  in 
“  Pride  of  the  Fancy.  ’ 

OPEN  TO  OFFERS. 
39,  Avonmore  Road, 

West  Kensington. 
’Phone  :  Western  675. 

LILIAN 

HALL  DAVIS. 

JUVENILE  LEADS. 
Samuelson,  Ideal,  Gra¬ 
ham  Wilcox,  etc.,  etc. 
All  corns.  :  Sidney  Jay, 
181,  Wardour  St.,  W.l. 
Regent  4329 


LEIGH 

GOODE 

Just  completed  light  juv. 
B.  G.  Productions. 

All  corns.  : 

“The  Wigwam,’’  Thames 


Ditton  Island,  Surrey. 


FRED  HOWARD 

Dramatic  or  Humorous 
Leads. 

Boxer,  Wrestler,  Horseman, 
Swimmer,  Motordriver,  etc. 
Now  Starring-  in  “Down  on 
the  Farm”  (Alldith  Films). 
Address  :  1.  Blenkarne  Road 

S.w.ll. 


THELMA 

MURRAY 

Character  &  Emotional  parts 
Just  finished  work  in  “Crea¬ 
tion’'  lor  Raleigh  King  Films, 
now  playing  lead  tor  Masters. 
All  corns  :  “LYNDALE  ” 
OAKLEY  RD. 
WHYTELEAFE,  SURREY, 
or  to  the  Kinema  Club. 


THIS  SPACE  TO  LET 
17s.  6d.  for  13  insertions 


ARTISTES 


•  • 


MOIRA 

VERNEY. 


“AN  ENGLISH 
VENUS.’’ 

Gaumont,  F.  P.-Lasky, 
Masters,  Phillips, 
Figure  Special. 

All  corns.  : 

c  lo  MOTION  PICTURE 
STUDIO. 


EVA  LLEWELLYN, 

Mother  and  Character  parts. 
London:  Stoll,  British  Actors 
B&C  Barkers,  Samuelson, 
Gaumonts, 

Aunt  Martha  in  *'  A  Ray  of  Sun¬ 
shine,”  Hagar  in  “St.  Elmo,” 
Miss  Fairley  in  “MordEm’ly” 
(Welsh  Pearson),  “Mrs.  Willow 
Weeps, ’’Waller  Forde  Comedies. 
39.  GLOUCESTER  GDN S. .  W.2. 
’Phone  494  Padd..  and  at  the 
Kinema  Club.  Regent  2131. 


DONALD 

NEVILLE 

JUVENILE. 

Light  Comedy  Lead  :  The 
Bridge.”  Just  finished  with 
B.  G.  Film  Productions. 
NOW  OPEN  TO  OFFERS. 
All  corns. :  82,  St.  Georges 
Road,  South  Belgravia. 
’Phone  :  Victoria  2316. 


«r  .t 


ROSINA 

WRIGHT, 

'  amous-Lasky,  Stoll,  Lon¬ 
don.  Samuelson,  Davidson, 
Ideal,  Broadwest,  etc. 

7  years  Film  Experience. 
8a,  GOLDERS  WAY, 
GOLDERS  GREEN,  N.W.L 
or  Kinema  Club. 


MILTON  ROSMER 

INVITES  IMMEDIATE  OFFERS, 
horthcoming  Releases — 

“GENERAL  JOHN  REGAN’’  (Stoll) 

“  ROMANCE  OF  WASTDALE  ’’  ,, 

“PASSIONATE  FRIENDS’’ 

“WOMAN  OF  NO  IMPORTANCE”  (Ideal) 
16,  WEYMOUTH  STREET,  W.l. 
’Phone  :  Langham  2243. 

LYDIA  HAYWARD. 

Adapting  Stories  by  W.  W.  Jacobs  for 
Artistic  Films, 

“A  Will  and  A  Way,”  “Sam’s  Boy.” 
Part  author  of  original  story  “  Monty  Works 
The  Wires.” 

Address:  KINEMA  CLUB. 

ART!  IUR  PUSLY. 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagcon”  for  I.V.T.A. 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 


VICTOR  McLAGLEN, 

Juvenile  or  Heavy  Leads. 

Boxer,  Wrestler,  Swimmer,  Horseman, 
Fencer  and  Strong  Man.  “Call  of  the  Road  ” 
and  “  Corinthian  Jack.” 


Address — N.S.C. 


ARTISTES  . 


JACK 

SELFRIDGE 

Juvenile  and  Character 
Leads. 

Late  Turner.  Edison, 
Samuelson,  Master,  Stoll 
Film  Co.,  etc.,  etc. 

All  communications  to — 
Motion  Picture  Studio 


ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 
Character  Parts,  “  Mrs.  Gatty, ”  in  “Christie 
Johnstone  ”  (Broadwest),  “  Margaret  Howe” 
in  “  Beside  the  Bonny  Brier  Bush  ”  (Lasky). 

55,  Campden  St.,  Kensington,  W.8. 

Tel.  :  Park  3623. 


CHARLES  LEVEY 

15,  STOKENCHURCH  STREET, 
FULHAM,  S.W.6. , 

or  KINEMA  CLUB. 


HENRY  V1BART, 

24,  Cleveland  Road,  Barnes,  S  W.  13. 

’Pn  ne  :  Putney  228b. 

ARTHUR  WALCOTT, 

Character  Parts, 

57,  Church  Street.  Kensington.  W.8. 

WILLIAM  L  U  G  G  , 

Aristocratic,  Character  and  Comedy  Old  Men. 

12,  Heathfield  Gardens,  Ghiswick,  W  4. 

Mr.  D  ALTO  N  SOMERS. 

Resting.  Offers  invited. 

_  Sleepy  Hollow,  Peacehaven,  Sussex. 


WILFRED  S.  STANFORD. 

Offers  invited.  20  years  experience — Legitimate  and 
Vaudevil  e  Stages  and  Screen.  Jtw,  Cha>  acter  and 
Foreign  Parts.  Corns:  Playgoeis’  Club  (Regent  1265 
_ or  Kinema  Club), _ 

FT  C  R  E  M  LIN. 

5  Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club 

DOUGLAS  PAYNE, 

29,  Arragon  Gardens,  Streatbam,  S.W.  1. 

To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
SUPPLIED 

Ftom  your  own  Photo,  in  best  glossy  style  :  — 
One  position  17/6  per  gross. 

Two  positions  30 /-  ,, 

Apply— 

PICTURES,  LTD.,  88,  Long  Acre,  W.C.2. 


SCENARISTS  . 


GERALD  DE  BEAUREPAIRE, 

Editing.  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 


KINCHEN  WOOD, 

Scenarist, 

Late  Stoll  and  Wm.  Fox  Studios,  Los  Angeles. 
Address  : 

7,  WYMERING  MANSIONS. 
ELGIN  AVENUE,  MAIDA  VALE,  w 


4 


June  io,  1922 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93,  Long  Acre, 
London,  W.C.2, 


Vol.  2 


Three  Alternatives. 

'T’HAT  the  position  of  the  British 
1  producing  industry  is  really  serious 
is  now  generally  recognised  within  the 
industry  :  those  outside  must  be  made  to 
appreciate  the  same  fact.  As  things  now 
stand  there  are  three  alternatives  :  afford 
national  support  to  this  national  industry ; 
let  it  die ;  allow  American  or  German 
financiers  to  commandeer  it.  They  are 
the  alternatives,  and  in  any  case  they  are 
the  concern  not  merely  of  the  industry, 
which  is  only  a  section  of  the  community, 
but  of  the  State  itself.  And  it  is  up  to  the 
State  (the  Governmental  departments  being 
its  executive  officers)  to  take  a  definite 
attitude  in  the  matter  that  will  determine 
clearly  which  of  these  three  alternatives 

it  is  prepared  to  adopt. 

*  *  * 

A  Chance  for  the  Government. 

I— IERE  is  a  powerful  State  adjunct 
and  the  nucleus  of  an  extensive 
and  prosperous  industry — what  will  the 
State  do  with  it  ?  It  is  the  hall-mark  of 
true  statesmanship  to  increase  the  industry 
and  prosperity  of  the  State — will  our  pre¬ 
sent  decrepit  Government  set  the  seal  on 
its  self-admitted  incompetence  by  allowing 
what  has  become  the  third  industry  in 
America  to  die  of  malnutrition  in  this 
country  ?  Or,  as  we  have  suggested,  it  is 
quite  conceivable  for  foreign  film  manu¬ 
facturers  to  indulge  in  a  course  of  peaceful 
penetration  until  the  industry  passes  out 
of  the  hands  of  Britishers  and  England 
becomes  a  branch  office  of  Los  Angeles  or 
Berlin.  Should  this  happen,  we  do  not 
think  members  of  the  kinema  profession 
would  be  the  losers  so  much  as  the  State. 
Work  would  be  provided  by  these  American 
invaders  for  British  artistes  and  techni¬ 
cians,  while  the  financial  results  of  this 
exploitation  of  British  scenic  values  and 
histone  associations  would  be  diverted 

from  the  State’s  coffers  to  those  of  America. 

*  *  * 

American  Advantages. 

JT  then  resolves  itself  down  to  this  :  Will 
the  State,  to  avoid  the  foregoing  con¬ 
tingencies,  give  substantial  support  to  an 
industry  that,  besides  possessing  potent 
possibilities  of  becoming  a  great  revenue- 
producing  concern,  is  also  the  supreme 
factor  in  social  life  for  contributing  to  the 
common  weal  of  the  British  peoples,  of 
preaching  pro-British  doctrine,  and  of 
controverting  the  stealthy  and  sinister 
policy  of  Americanising  the  world  that 
American  pictures  are  capable  of  ?  There 
are  several  ways  of  doing  this.  We  will 
mention  two  :  (a)  a  direct  State  subsidy 


to  the  British  film  producing  industry  ; 
( h )  an  indirect  subsidy  in  the  form  of  a 
concession  in  the  Entertainment  Tax  to 
those  exhibitors  whose  exhibitions  include 
a  certain  percentage  of  British  films.  Such 
assistance  would  enable  British  films  to  be 
offered  to  exhibitors  at  a  price  that  more 
nearly  approximates  the  price  for  which 
American  films  can  be  secured.  American 
films  can  be  obtained  by  exhibitors  at 
about  on  an  average  of  one-quarter  the 
cost  of  native  products.  This  is  due  to  the 
fact  that  long  before  these  films  had 
reached  this  country  they  had  made,  in 
America,  more  than  enough  money  to 


If  When  things  are  bright 
it  is  beautifully  easy  to 
be  brave  and  strong  — 
it  may  be  true  that  most 
folks  are  merely  strong 
for  want  of  test. 

But  now  you  are  right 
up  against  it.  How  do 
you  feel  ?  Are  you 
getting  pannicky  ?  Are 
you  keeping  strong  and 
brave  ?  Only  those  who 
are  made  of  the  real 
right  stuff  will  struggle 
through  the  darkness  to 
the  dawn. 

If  So  that  the  Analyst  — 
Circumstance — is  putting 
the  acid-test  to  the  cali¬ 
bre  of  people  and  will 
discover  their  true  worth 


cover  their  cost  of  production  and  distribu¬ 
tion,  and  also  because  they  are  passed  into 
this  country  at  a  very  low  tariff. 

*  *  * 

The  Fallacy  of  a  Tariff. 

IT  has  been  suggested  that  what  would 
1  solve  the  problem  would  be  a  stiff 
tariff  on  imported  films.  It  would  not. 
Tariffs  are  ineffective  and  have  a  distinctly 
boomerang  effect.  And  a  very  stiff  tariff 
on  American  films  is  at  once  a  sign  of 
cowardice  and  the  technical  inferiority  of 
British  films.  American  tariff  on  British 
films  is  about  level  with  British  tariff  on 
American  films.  We  both  start  dead 


Telegrams — 
Southernwood, 
Rand,  London. 
Telephone — 
Gerrard  9870. 

June  10,  1922 


level.  At  least  in  the  fiscal  sense.  Where 
we  are  severely  handicapped  is  in  the 
quality  of  our  products.  The  British 
industry  has  got  to  get  its  head  out  of  the 
sand.  It  must  face  the  bitter  truth  that 
in  the  past  the  overwhelming  majority  of 
its  films  have  not  been  worthy  of  sub¬ 
sidising  or  capable  of  competing.  The  hope 
for  the  future,  then,  depends  on  the 
industry  vastly  improving  its  products 
(this  is  not  dependent  on  money,  as 
Graham  Cutt’s  excellent  production  The 
Wonderful  Story  ”  proves)  and  in  the 
State  giving  adequate  support  to  a  native 
industry. 

*  *  * 

Expert  Knowledge. 

/'"AF  course,  it  is  only  natural  to  expect 
the  film  “  experts  ”  of  the  lay  press 
to  write  upon  subjects  they  know  nothing 
of,  but  the  choicest  specimen  of  film 
wisdom  comes  from  the  pen  of  a  Walter 
Bayes,  who  writes  in  the  Morning  Post 
on  “  Art  and  the  Film.”  He  says  :  ... 

when  shown  4  by  our  ultra-rapid  camera 
(why  must  these  lovely  things  always  be 
sullied  by  cheap  wit).”  Mr.  Bayes  can 
see  a  joke  in  44  ultra-rapid,  but  if  he  only 
knew  more  of  the  subject  on  which  he 
wrote  he  would  not  need  us  to  tell  him 
that  the  slow  motion  pictures  are  taken  by 
a  camera  the  mechanism  of  which  causes 
the  negative  to  go  through  at  an  ultra¬ 
rapid  rate. 

*  *  * 

Another  Birthday 

\]OR  was  ours  the  only  birthday. 
^  ^  Exactly  twenty-nine  years  ago 
kinematography  made  its  debut.  In  May- 
June  of  1889  the  first  motion  pictures 
were  shown  by  the  late  W.  Fnese-Greene 
and  Edison  in  the  same  year  entertained 
visitors  to  the  World’s  Fair  Exhibition 
in  Chicago  with  an  exhibition  of  kinema 
films.  The  first  public  exhibition  of 

motion  pictures  in  Great  Britain  was  on 

February  20,  1896,  during  a  concert  given 
to  the  students  at  Finsbury  Technical 

Institute.  The  first  company  to  commence 
producing  film  plays  in  a  studio  was  that 
formed  by  Mr.  Paul  at  Muswell  Hill,  a 
few  months  after  the  debut  of  his  Ani- 
matograph.”  Shortly  afterwards  Cecil 
Hepworth,  who  is  still  one  of  our  leading 
directors,  followed  suit  at  Walton-on- 
Thames,  as  did  the  Vitagraph  Company 
in  America.  While  thus  being  retrospec¬ 
tive,  it  may  be  worth  recording  that  the 
great  journalist  George  Augustus  Sala 
described  the  first  British  show  of  films  as 
‘‘  a  magic  lantern  run  mad  with  method 
in  its  madness.” 


5 


THE  MOTION  PICTURE  STUDIO 


June  io,  1922 


KINEMA  CLUB’S 
FIRST  PRODUCTION 


Edgar  Wallace  Story  to  be 

This  week  we  are  in  a  position  to  make  an 
announcement  which  we  feel  sure  is  of  in¬ 
terest  to  the  Industry  as  a  whole  and  to  the 
producing  profession  in  particular.  It  is  that 
the  first  Kinema  Club  production  has  already 
bc-en  cast,  and  work  has  been  commenced  on 
the  initial  scenes,  which  are  now  being  made 
at  the  Davidson  Studio  at  Walthamstow. 

This  production  is  a  fine  example  of  the 
spirit  that  exists  in  the  British  studios.  It 
is  the  combined  effort  of  artistes*  producers, 
manufacturers,  directors,  scenarists,  and 
cameramen.  By  the  co-operation  of  all  sides 
of  the  profession  it  has  been  possible  to 
start  work  on  what  should  be  one  of  the  best 
English  pictures  ever  made.  The  cast  is  an 
exceptionally  strong  one,  and  one  which  few 
producing  firms  could  afford  to  include  in 
the  one  ordinary  production.  It  is  only 
because  the  artistes  are  giving  their  sup¬ 
port  that  it  has  been  possible  to  assemble 
such  a  fine  list  of  names  in  the  one  film. 

The  picture  has  the  advantage  of  being 
adapted  from  a  popular  story  by  a  popular 
author.  “  The  Crimson  Circle  ”  is  the  title 
of  the  film,  and  it  is  from  Edgar  Wallace’s 
serial  story  which  ran  for  many  weeks  in 
the  Daily  Ex-press.  Pat  Mannock,  who  has 
been  responsible  for  many  of  the  scenarios  of 
the  Broadwest  and  Hepworth  successes,  has 
written  the  scenario. 

George  Ridgwell,  director  of  the  second 
Sherlock  Holmes  series,  “  The  Pointing 
Finger,”  “  A  Gamble  in  Lives,”  “The 
Knight  Errant,”  “  The  Sword  of  Damocles,” 
and  many  other  British  films,  and  who,  in 
addition,  has  worked  as  scenarist  and  direc¬ 
tor  in  the  American  studios  of  Vitagraph,  is 
to  direct  the  film. 

I.  B.  Davidson  has  put  his  studio  and 
lighting  apparatus  at  the  disposal  of  the  com¬ 
pany,  and  has  offered  to  pay  personally  for 
the  expense  of  the  electricity  required  for 
lighting.  !  rom  the  Davidson  studios  many 
or  our  biggest  British  successes  have  origi¬ 
nated,  perhaps  the  most  famous  being  “  The 
Call  of  the  Road.” 

As  an  indication  of  the  good  will  of  the 
various  Trade  sections  of  the  profession,  it 
is  interesting  to  note  that  on  behalf  of 
Kodak  Ltd.  Ernie  Blake  has  promised  to 
donate  5,000  feet  of  negative  already  per¬ 
forated  for  the  production  ;  M.  Berman,  the 
well-known  kinema  and  theatrical  costumier, 
of  18,  Green  Street,  Leicester  Square,  has 
agreed  to  lend  all  the  costumes  that  will 
be  required  ;  and  the  County  Film  Co. 
(underneath  the  Kinema  Club  at  Great  New¬ 
port  Street)  has  kindly  consented  to  do  all 
the  dark-room  work  free. 

The  artistes  in  the  cast  are  all  well-known 
and  popular  stars. 

Madge  Stuart,  the  Stoll  artiste,  has  played 

6 


Directed  bv  Club  Chairman 

j 

in  many  British  films,  some  of  the  more 
prominent  ones  being  “A  Gentleman  oi 
France,”  “  The  Passionate  Friends,”  “Gwy¬ 
neth.  of  the  Welsh  Hills,”  “  The  Amateur 
Gentleman,  “  A  Question  of  Trust,  ”  and 
“  The  Tavern  Knight.”  The  fact  that  she  is 
playing  Thalia  Drummond  in  "  The  Crimson 
Circle  ”  is  another  reason  why  the  film 
should  be  a  success.  Eva  Moore,  wife  of  the 
late  H.  V.  Esmonde,  and  famous  for  her 
stage  work,  has  appeared  in  “  The  Sword  of 
Damocles”  and  “The  Law  Divine,”  two 
British  film  productions.  She  appears  as 
Prudence  Beardmcre  in  “The  Crimson 
Circle,”  Robert  English,  star  of  "  The 
Fruitful  Vine,”  appears  as  James  Beardmore. 
Fie  is  a  striking  type  of  artiste,  and  is  rapidly 
becoming  popular  with  the  picturegoers. 
Rex  Davis,  one  of  the  most  popular  juvenile 
leads  on  the  English  screen,  is  appearing  as 
Jack  Beardmore.  Since  demobilisation  Mr. 
Davis  has  played  in  “All  Sorts  and  Condi¬ 
tions  of  Men,”  “  Pride  of  the  Fancy,”  and 
many  otner  successes,  some  of  which  have 
not  yet  been  seen  by  the  public.  Before  the 
war  he  was  a  very  popular  screen  star,  and 
was  seen  in  many  of  Florence  Turner’s  pro¬ 
ductions.  Fred  Groves,  who  plays  Detective- 
Inspector  Parr,  was  one  of  tne  artistes  who 
played  in  the  old  London  Film  Company 
successes.  More  recently,  however,  he  has 
been  seen  in  “  Master  of  Cralt  ”  and 
;  bquibs.”  Sydney  Paxton  plays  Harvey 
Froyant,  La'wlord  Davidson  Raphael  Wit¬ 
lings,  and  Clifton  Boyne  Derrick  Fale. 

'there  still  remain  a  number  of  roles  to  be 
filled,  and  the  names  of  the  artistes  selected 
will  be  announced  in  due  course. 

Eille  Norwood  and  Hubert  Willis  will  be 
seen  in  interesting  scenes  alter  the  style  oi 
the  SnerlocK  -Holmes  series,  and  there  will 
be  a  F  ancy  Dress  Ball  involving  over  200 
artistes.  This  will  be  held  either  at  night 
or  during  one  Sunday — preferably  at  night — - 
and  it  is  intended  to  use  every  Ciub  member 
available  in  this  scene.  Tne  idea  is  for 
both  star  artistes  and  small-part  players  to 
take  part  in  the  ball  scenes,  and  it  is  for 
this  reason  that  all  who  are  willing  are 
requested  to  hand  in  their  names  to  the 
Secretary. 

It  will  be  seen  that  the  Kinema  Club’s 
first  production  should  be  a  real  winner — 
it  is  after  the  style  of  the  “Four  Just  Men” 
story  which  George  Ridgwell  also  scenarised 
and  directed,  and  Stolls  “Four  Just  Men” 
has  been  a  fine  booking  proposition  to  the 
renter  and  an  excellent  box-office  attraction 
to  the  exhibitor. 

In  order  to  give  every  renter  in  the  Trade 
an  equal  chance,  the  Committee  has  decided 
not  to  acept  offers  that  have  been  made  by 
certain  renting  concerns,  but  to  announce 
publicly  that  the  U.K.  rights  of  the  Kinema 
Club  production,  “The  Crimson  Circle,”  is 
in  the  open  market,  and  that  the  best  offer 
made  will  secure  it.  Needless  to  say,  with 
such  a  story,  cast  and  unique  facilities,  this 
production  should  be  an  unparalleLd  success 
for  all  concerned. 

LATEST. 

As  we  go  to  press  we  hear  that  Madge 
Stuart  is  ill  with  diphtheria  in  a  French 
hospital,  and  will  probably  be  unable  to 
play  in  “The  Crimson  Circle.”  If  this  is 
so  the  Committee  will  be  on  the  look-out  for 
another  artiste  to  play  the  important  part 
of  Thalia  Drummond. 


VALUE  OF 
NAMES 

by  ARTHUR  MacARTHUR 

I  have  read  with  interest  Rupert  Crew’s 
article  “Nothing  Doing,”  and  have  had  the 
same  experience  with  regard  to  original 
scripts ;  but  with  his  reasons  for  the  per¬ 
sistent  refusal  of  these,  I  cannot  agree. 

I  admit  that  story-writing  and  scenario¬ 
writing  are  entirely  different,  and  for  this 
very  reason  I  question  if  established  writers 
of  fiction  are  the  only  people  capable  of 
turning  out  suitable  work  for  the  screen. 
Many  very  successful  works  of  fiction  are 
quite  unsuitable  for  the  silent  drama,  which 
calls  for  action  rather  than  fine  phrases. 

In  any  case,  why  should  scenario  editors 
turn  down  all  efforts  except  those  of  “ex¬ 
perienced  writers  of  stories”?  If  a  story 
has  a  good  screen  value,  what  does  it  matter 
who  wrote  it?  A  director  who'  is  fortunate 
enough  to  get  the  kind  of  scenario  he  is 
looking  for,  is  not  likely  to  investigate  the 
literary  antecedents  of  the  author  before 
acceptance. 

There  are  directors,  alas !  who  do  not 
want  stories.  As  a  writer  of  short  comedies, 

I  have  been  in  touch  with  several  of  these 
gentlemen,  who  ask  for  a  more  or  less 
connected  string  of  incidents  whereon  a  par¬ 
ticular  star  may  hang  a  number  of  (alleged) 
laughter-raising  stunts. 

But,  whatever  kind  of  stuff  is  desired,  the 
merits  of  a  script  ought  surely  to  receive 
consideration,  whether  the  writer  be  an  “un¬ 
trained  amateur  ”  or  not. 

Literary  editors  do  not,  as  a  rule,  “choke 
off  ”  new  writers,  provided  their  contribu¬ 
tions  are  deemed  worthy  of  consideration. 
The  supply  of  experienced  writers  would 
soon  be  exhausted  if  thev  did.  Why,  then, 
should  scenario  editors  do  so? 

FOR  SCENARISTS 

13  ETROSPECTION  in  photoplay  writing 
should  be  avoided,  says  the  Photo¬ 
dramatist  ,  for  the  reason  that  it  is  confusing 
to  the  audience,  as  it  is  just  beginning 
to  find  interest  in  the  story  for  its  trend  of 
thought  to  be  interrupted  by  an  entirely  new 
story.  However,  it  is  permissible  to  use 
retrospection  when  it  is  impossible  to  con¬ 
struct  a  photoplay  without  it.  In  that  case, 
it  should  be  very  brief.  It  is  also  inadvis¬ 
able  to  resort  to  dreams  and  visions, 
although,  in  a  few  instances  this  has  been 
done  with  some  degree  of  success.  These 
examples,  however,  are  very  rare. 

Comedy  is  more  difficult  to  write  than 
drama  for  the  same  reason  that  the  short 
story  is  harder  to  construct  than  the  novel — - 
the  time  in  which  a  given  purpose  must  be 
accomplished  is  more  limited.  This  fact 
renders  it  imperative  that  a  comedy  contains 
many  more  situations  per  reel  than  drama, 
and  each  bit  of  action  must  count  either  for 
a  laugh  or  for  working  up  to  a  laugh.  Also, 
on  account  of  the  limitations  of  time,  the 
subjects  that  are  suitable  for  treatment  are 
limited,  and  that  makes  it  hard  to  construct 
comedies  that  are  original. 

Sub-titles  should  not  be  included  in  the 
synopsis  of  a  story.  That  is  the  work  of  a 
professional  title  writer.  However,  if  you 
can  help  some  particular  situation  by  the  use 
of  a  spoken  title,  inserted  in  the  form  of 
conversation,  use  it,  as  it  not  only  helps  the 
scene,  but  also  the  characterisation.  The 
greatest  care  should  be  exercised,  however, 
that  the  spoken  subtitles  are  not  overdone. 
They  must  be  very  sho*t  and  concise. 


June  io,  1922 


THE  MOTION  PICTURE  STUDIO 


IntimaJe  Studio  Q os  sip 


Last  Frida)'  I  lunched  with  Peggy 
Hyland,  and  four  hours  later  saw 
her  off  for  Tripoli,  whither  she  goes  to 
star  in  ‘ '  The  Price  of  Silence,”  which 
Fred  Le  Roy  Granville  is  directing  for 
British  International.  Miss  Hyland  is 
naturally  elated  over  the  success  that 
has  attended  her  first  attempt  at  film 
direction.  She  tells  me  that  her  hope 
in  the  future  is  to  make  a,  name  for 
herself  as  a  director  as  well  as  a  stair. 
And  I  wish  all  the  luck  that  is  possible 
to  our  British  woman  director. 


Lalking  about  lunching  reminds  me 
that  yesterday  I  dropped  in  at 
Quality  Corner  and  had  an  excellent 
hot-weather  lunch  with  some  fellow 
journalists.  This  little  restaurant 
specialises  in  salad  sandwiches,  and  I 
might  add  that  the  cooling  drinks  and 
refreshing  ices  will  continue  to  tempt 
me  to'  23,  Gerrard  Street  during  this 
Californian  weather. 


Trank  Foiwell  writes  : — “  A  collection 
is  being  made  in  aid  of  the  widow 
of  the  late  Bannister  Merwin,  who 
served  the  Industry  so  well  for  the 
past  twelve  years.  I  recognise  that 
this  is  not  a  propitious  moment  for 
such  a  collection  in  view  of  the  wide¬ 
spread  distress  in  the  Trade.  At  the  ; 
same  time,  I  think  there  are  many  who 
will  want  to1  associate  themselves  with  j 
this  particular  fund,  and  I  shall  be  1 
very  glad  toi  acknowledge  even  the 
smallest  sum.”  Subscriptions  may  be 
addressed  to  Mr.  Fowell,  at  17,  Green 
Street,  London,  W.C.2. 


Tor  his  production  of  “  Rob  Roy,” 
Will  Kellino  has  enlisted  the  expert 
help'  of  the  Dukes  of  Atholl,  Montrose 
and  Argyle.  All  furnished  information 
and  the  two  latter  have  given  per¬ 
mission  for  scenes  ,  to  be  taken  on 
their  estates.  Valuable  information 
on  dress  .and  customs  of  the  period 
has  also  been  given  by  Mr.  Curie, 
director  of  the  National  Scottish 
Museum,  Edinburgh  ;  Mr.  Calendar, 
director  of  the  Antiques  Museum, 
Edinburgh;  and  Mr.  Core,  director  of 
the  National  Portrait  Gallery,  Edin¬ 
burgh.  Another  leading  authority 
consulted  was  Charles  Whitelaiw1,  one 
of  the  leading  Scottish  authorities  on 
armoury  and  Highland  costume,  who 
will  act  as  expert  adviser  throughout 
the  •prod’wtion  of  the  film,  and  has 
already  taken  up  his  headquarters  at 


Aberfoyle.  Some  idea  of  the  lavish 
manner  in  which  “  Rob  Roy  ”  is  to’  be 
staged  can  be  gleaned  from  the  con¬ 
tract  that  Gaumont  has  entered  into 
with  Cowieson  and  Co. ,  of  Glasgow. 
This  companv  has  been  commissioned 
to  erect  a,  baronial  castle,  also  a  church 
and  many  other  buildings.  It  seems 
that  Gaumont  does  not  intend  doing 
things  by  halves. 


Ideal  Films  gave  a  luncheon  at  the 
Hotel  Metropole  on  Tuesday  last 
to  welcome  Constance  Binney  to  these 
shores.  Miss  Binnev  has  been 
engaged  to  play  lead  in  “  A,  Bill  of 
Divorcement  ”  with  Fay  Compton. 


TALK  ABOUT  YOURSELF! 

In  other  words - Advertise. 

Advertisement  Rates  on  application. 


This  picture  is  the  first  of  a  series  of 
Denison  Clift  Art  Productions,  and  the 
reason  for  the  inclusion  of  a,  well- 
known  American  star  in  the  cast  is  to 
give  the  picture  a  more  marketable 
value  in  America. 


The  part  Miss  Binney  will  play  is  that 
of  Sydney  Fairfield,  which  was 
described  by  Denison  Clift  as  the  part 
in  the  film.  The  stage  version  is  to' 
be  as  near  as  possible  followed  in  the 
screen  version,  except  that  one  red 
will  bei  devoted  to  working  up  the 
incidents  before  the  plav  starts,  this 
practically  amounting  to  a  prologue. 
It,  however,  seems  very  strange  to'  me 
that  Ideal  had  toi  go  to'  U.S.A.  to  find 
an  actress  for  this  part,  especially  as 
Ideal  appeared  to>  have  satisfied  itself 
with  a,  certain  well-known  actress. 


A  testimony  to  the  clever  concealment 
of  the  camera  whilst  taking  street 
scenes  at  St  Albans  during  the  filming 
of  “  The  Cause  of  all  the  Trouble  ” 
(the  Albanian  Film  Company’s  first 
production)  wlasi  given  by  a  tram  con¬ 
versation  overheard  by  George  K. 
Arthur,  who  is  co-starring  in  that  film 
with  Flora,  le  Breton,  whilst  returning 
to  London  the  other  day.  Two  dear 
old  ladies  were  talking  of  their  day’s 
experiences,  when  one  related  how  on 
passing  Jones,  the  drapers,  a  very 
well  dressed,  pretty  little  slip  of  a  girl 
was  arrested  by  a  policeman  for  shop¬ 


lifting.  W  hat  actually  happened  was 
that  the  two  ladies  had  seen  Flora  le 
Breton  playing  the  part  of  Mrs. 
Jimmy  Rodney  for  the  film.  As 
arranged,  F  lora  linked  her  arm  in  that 
of  a  policeman,  mistaking  it  for  that 
of  George  K.  Arthur,  the  Mr.  Jimmy 
Rodney  in  the  film. 


After  spending  a  short  holiday  in 
h  ranee,  A.  Bromley  Davenport  has 
returned  and  is  now  back  in  the  New 
Forest,  where  he  is  playing  the  part  of 
Wetherell,  the  poacher,  in  the  new 
George  Clark  film,  “  Fox  Farm.” 
Davenport  once  more  plays  the  part  of 
father  to  Ivy  Duke,  who  appears  as 
the  heroine. 


TL  B.  Parkinson  tells  me  that  on 
Monday  Challis  Sanderson  will 
make  the  first  of  a  series  of  one-reel 
versions  of  George  R.  Sims’  poems. 
I  his  series  will  be  completed  when 
twelve  pictures  have  been  made. 
Sanderson’s  production  is  to  be  called 
“Billy’s  Rose,”  and  thecasting  should 
just  about  be  completed'  by  the  time 
this  note  appears,  in  type:.  The  series 
of  one-reel  Sybil  Thorndykei  features 
have  now  been  completed. 


Fred  Wright,  who  has  foresaken  the 
film  business  for  ai  short  time  in 
order  to:  make  his;  appearance  in  his 
new  revue,  “Tit-Bits,”  on  tour, 
returned  to  play  in  London  on  Monday 
evening  last.  About  twenty  of 
Wright’s  film  friends  went  to  see  him 
in  the  revue,  and  the  remarks  between 
his  friends  sitting  in  the  stalls  and  this 
indefatigable  little  comedian  kept  the 
rest  of  the  audience  in  shrieks  of 
laughter.  Wright  says  he:  wishes  his 
fellow  artistes  would  visit  each  theatre 
where  he  plays. 


Before  sailing  for  America  Kenelm 
Foss  called  in  to  see  me.  He  is 
looking  much  better— he  has  had  a 
very  bad  time,  being1  in  the  hands  of 
the  doctor  with  pneumonia.  His  plan 
is  to1  endeavour  to*  o^en  the  American 
market  for  his  forthcoming  pro¬ 
ductions,  and  if  Ken  cannot  do  this, 
j  who:  c.a,n  ? 

/VjLiSf 


7 


THE  MOTION  PICTURE  STUDIO 


June  io,  1922 


Q/A&hsi  <xAn  u/rucl 


NEWS  OF  ALL 


Jack  McDonagh  is  directing  for  Irish 
Photoplays. 

Lilian  Douglas  is  playing  in  the  new 
Davidson  film.  (Jay’s  booking.) 

Mavis  Clare  is  playing  lead  in  the  new 
Progress  film,  “Little  Miss  Nobody.” 

Stanley  McCarthy  is  in  the  Gaumont 
“  Rob  Roy  ”  company,  playing  MacAllister. 

Eva  Llewelyn  is  playing  Rob  Roy’s  mother 
in  the  Gaumont  screen  version  of  “Mob 
Roy.” 

Challis  Sanderson  is  directing  some  of  the 
new  Sybil  Thorndike  one-reelers  for 
Masters. 

Eric  Leighton  is  appearing  in  “Brown 
Sugar,”  as  Crowbie  Carruthers.  (Jay’s 
booking.) 

Malcolm  Tod  is  playing  for  Stoll  in  “Dick 
Turpin.”  He  plays  juvenile  lead  in  this 
production. 

Henrietta  Watson  is  with  British  Super 
in  an  important  role  in  “Brown  Sugar.” 
(Jay’s  booking.) 

Stanley  Mumford  is  photographing  “Little 
Miss  Nobody  ”  for  Progress,  and  is  technical 
adviser  to  the  company. 

Alban  Atwood  has  not  been  appearing 
in  the  new  Peggy  Hyland  comedies  as  has 
been  previously  announced. 

Constance  Binney  is  to  play  Sydney  Fair- 
field  in  the  new  Denison  Clift-Ideal  pro¬ 
duction,  “A  Bill  of  Divorcement.” 

Margaret  Halstan  is  playing  her  original 
stage  role,  that  of  Lady  Honora  Nesbitt,  in 
the  new  British  Super  “Brown  Sugar.” 
(Jay’s  booking.) 


DO  YOU  KNOW  ? 


TfJJIE  name  of  the  British  director  who  is 
to  make  films  for  a  German  firm  in 
Berlin?  And — 

If  he  is  taking  a  company  of  British  ar¬ 
tistes  with  him? 

Whether  it  is  true  that  Madge  Stuart  is  ill 
in  hospital  in  France? 

Why  Ideal  substituted  Constance  Binney 
for  Flora  le  Breton  in  “  Bill  of  Divorce¬ 
ment  ”?  And — 

Whether  this  is  the  right  way  to  treat 
native  talent?  And — 

What  Flora  le  Breton  is  going  to  do  about 
it? 

When  ,T.  Stuart  Blackton  is  going  to  begin 
his  Carpentier  film?  And — 

Why  all  the  mysterious  delay? 

If  the  Club  cricket  match  was  a  failure? 

That  Max  Freeman  has  closed  down  his 
agency  at  2,  Soho  Street? 

How  much  Sid  Tay  won  on  Captain 
Cottle? 


Molly  Wynne  is  with  Progress  in  “Little 
Miss  Nobody.” 

Will  Kellino  is  up  in  Scotland  working 
on  “Rob  Roy,”  for  Gaumont. 

Olive  Sloane  is  playing  in  “Little  Miss 
Nobody,”  for  Progress. 

Edwin  J.  Collins  has  been  directing 
“Jane  Shore,”  for  Master  Films. 

Tom  Morris  is  appearing  as  Sandy  the 
Biter  in  “Rob  Roy,”  for  Gaumont. 

Vera  Wilkinson  is  playing  in  Walter 
Forde’s  latest  “Walter  Wants  Work.” 

Evelyn  Brent  is  playing  Dolores  in  the 
new  Adelaue  Millar  film,  “Pages  of  Life. 

Harry  Worth  supports  Sybil  Thorndike  in 
the  new  Master  subject,  “Bleak  House.” 

Norman  Page  is  playing  a  leading  role 
in  ““Dick  Turpin’s  Ride  to  York,”  for 
Stoll. 

Dora  Gregory  is  playing  the  aunt  in  the 
new  Clift-Ideal  film,  “A  Bill  of  Divorce¬ 
ment.” 

Louis  Hampton  plays  Miss  Gibson  in  the 
new  British  Super,  “Brown  Sugar.”  (Jay’s 
booking.) 

Cyril  Dane  is  appearing  in  “Brown 
Sugar,”  for  British  Supers,  as  Mr.  Edmund- 
son.  (Jay’s  booking.) 

John  Alexander  figures  as  the  fanatical 
milkman,  Mr.  Bose,  in  “Fox  Farm,”  for 
George  Clark. 

Challis  Sanderson  is  casting  for  the  first 
of  a  new  series  of  Master  subjects.  It  is 
called  “Billy’s  Rose.” 

Matbeson  Lang  was  secured  to  play  lead 
in  “Dick  Turpin’s  Ride  to  York,”  for  Stoll, 
through  Jay’s  Agency. 

Vivian  Gibson  lias  been  engaged  to  play 
in  the  new  B.A.T.  production,  which  is 
to  be  made  in  Germany. 

Eric  Lewis  is  taking  the  role  of  the  Earl 
of  Knightsbridge  in  “Brown  Sugar,”  for 
British  Super.  (Jay’s  booking.) 

Elsie  Prescott  and  her  husband  are  to 
make  a  film  of  their  own  in  which  Miss 
Prescott  will  play  seven  different  roles. 

Tony  Fraser  has  been  engaged  for  Donald 
Crisps  production,  and  is  also  to  play  the 
principal  Bow  Street  Runner  in  “Dick 
Turpin’s  Ride  to  Y’ork,”  for  Stoll. 

Kinchen  Wood,  who  is  now  staying  at 
1,  Wymering  Mansions,  Elgin  Avenue, 
Maida  Vale,  is  responsible  for  the  scenario 
of  the  new  Davidson  film  now  in  course 
of  production. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 


THE  CURRENT 

Fred  Le  Roy  Granville  arrived  in  Tripoli 
on  June  1. 

H.  B.  Parkinson  directed  “Bleak  House,” 
for  Masters. 

Betty  Doyle  has  been  playing  for  Masters 
in  “Bleak  House.” 

Booth  Conway  plays  in  the  new  Master 
subject,  “Jane  Shore.” 

Madge  Tree  has  been  appearing  with 
Masters,  in  “Bleak  House.” 

Gordon  Hopkirk  has  been  playing  in 
“Jane  Shore,”  for  Masters. 

Ivan  Berlyn  has  been  playing  in  “The 
Merchant  of  Venice,”  at  the  Master  Film 
Studios. 

D.  R.  Overal-IIatswell  has  been  playing  in 
Maurice  Tourneur’s  Goldwyn  production, 
“  The  Christian.” 

Glady’s  Harvey  is  with  British  Super 
playing  Mrs.  Cunningham,  in  “  Brown 
Sugar.”  (Jay’s  booking.) 

Cecil  Humphreys  has  just  finished  work 
in  “Cairo,”  and  is  now  with  Stoll  in  “Dick 
Turpin’s  Ride  to  Y’ork.” 

Harry  Millarde,  director  of  “Over  the 
Hill,”  arrived  in  England  this  week  to  make 
“If  Winter  Comes,”  for  Fox. 

Isobel  Elsom  has  been  secured  through 
Jay’s  Agency  to  play  lead  in  Stoll’s  new 
production,  “Dick  Turpin’s  Ride  to  York.” 

Sybil  Thorndike  appears  in  the  leading 
roles  in  the  new  Master  subjects,  “A  Mer¬ 
chant  of  Venice,”  “Bleak  House,”  and 
“Jane  Shore.” 


WHAT  THEY  SAY 


“  \  SOUND,  sensible  producing  firm  can 
make  30  per  cent,  profit  on  its  pic¬ 
tures.” — Andrew  Soutar. 

“There  are  no  snobs  in  filmland.” — 
G.  A.  Atkinson. 

“  Many  film  directors  firmly  believe  that 
the  best  way  for  a  man  to  adopt  with  a 
maid  is  the  way  of  the  caveman.” — 
Fencing  Lane. 

“D.  W.  Griffith  is  far  more  important 
to  the  Kinematograph  Trade  than  all  'the 
artistes  put  together.” — Pall  Mall. 

“The  Kinematograph  steps  in  to-day 
where  angels  fear  to  tread.” — Morning  Post. 

“There  are  many  wails  in  Wardour 
Street.” — Stage. 

“It  is  more  difficult  to  be  funny,  on  the 
screen  than  on  the  stage.” — Leslie  Henson. 

“Donald  Crisp;  a  film  director,  who 
apparently  suffers  under  a  too-exalted  sense 
of  his.  own  wisdom  and  importance.  ” — 
Stage. 

“Stage  acting  is  far  broader  in  its  methods 
than  screen  acting.” — Leslie  Henson. 


8 


June  io,  1922 


THE  MOTION  PICTURE  STUDIO 


tofixjCt  -gcAjz  <l&6ruc( 


MOVEMENTS  OF  STUDIO  PERSONNEL 


Bert  Wynne  directed  “Never  Too  Late  to 
Mend  ”  for  Masters. 

Evan  Thomas  is  with  Progress  in  “Little 
Miss  Nobody.” 

Alfred  Moses  is  in  Ireland  photographing 
for  Irish  Photoplays. 

Simon  Stuart  is  playing  in  “Little  Miss 
Nobody,”  for  Progress. 

Jack  Cox  is  photographing  “Dick  Turpin’s 
Hide  to  York,”  for  Stoll. 

Sydney  Paxton  is  playing  in  “Little  Miss 
Nobody,”  for  Progress. 

Owen  Nares  is  playing  in  “Brown  Sugar,” 
the  latest  British  Super  offering. 

Dounia  Shirley  is  to  play  in  the  new 
B.A.T.  production  to  be  filmed  in  Germany. 

Lilian  Hall  Davies  is  playing  lead  in  the 
new  British  Super  Production,  “Brown 
Sugar.” 

Georgie  Turner  has  been  especially  en¬ 
gaged  to  play  in  the  new  Davidson  sporting 
drama. 

James  Reardon  has  been  playing  in  the 
new  Progress  production,  “Little  Miss 
Nobody.” 

Leslie  Gordon  is  responsible  for  the 
scenario  of  “Dick  Turpin’s  Ride  to  York,” 
the  new  Stoll  film. 

Cyril  Smith  is  up  in  Scotland  assisting 
Will  Kellino  with  the  direction  of  “Rob 
Roy,”  for  Gaumont. 

Wilfred  Nov  is  to  direct  “Rogues  of  the 
Turf,”  for  Progress  shortly.  He  is  at  pre¬ 
sent  making  “Little  Miss  Nobody,”  for  that 
firm. 


FLASH  BACKS 


He  has  half  done  who  has  made  a  begin¬ 
ning. — Horace. 

The  road  of  Bv-and-Bv  leads  to  the  town 
of  Never. — Spanish  Proverb. 

The  sun  passeth  through  pollutions  and 
itself  remains  as  pure  as  before. — Bacon. 

No  man  is  free  who  is  not  master  of  him¬ 
self. — Epictetus. 

The  proper  study  of  mankind  is  man. — 
Pope. 

Affection  is  the  final  and  most  precious 
reward  any  man  can  win. — Mark  Twain. 

People  who  love  downy  peaches  are  apt 
not  to  think  of  the  stone,  and  sometimes 
jar  their  teeth  terribly  against  it. — Lytton. 

It’s  well  we  should  feel  that  life’s  a 
reckoning  we  can’t  make  twice  over. — Eliot. 

The  greatest  things  are  shown,  not  said. 
— Rynd.  ' 

That  noble  minds  keep  ever  with  their 
likes. — Shakespeare. 

There  is  nothing  little  to  the  really  great. 
— Dickens. 


Grahame  Cutts  is  casting  for  a  new  pro¬ 
duction. 


Montague  Rednap  has  been  photographing 
for  Walter  Eorde. 


Bernard  Dudley  is  directing  for  Rainbow 
Comedies. 


J.  Stuart  Blackton  starts  work  shortly  on 
“Love’s  April.” 

Marie  lllington  is  playing  in  “Little  Miss 
Nobody,”  for  Progress. 

Nieolette  Desmonde  plays  in  “Little  Miss 
Nobody,”  for  Progress. 

Walter  Eorde  has  completed  “Walter 
Wants  Work,”  for  Zodiac. 

E.  J.  Collins  is  directing  “The  Lady  of 
the  Camelias,”  for  Masters. 

Stewart  Rome  is  playing  opposite  Violet 
Hopson  in  “The  White  Hope.” 

W'alter  West  has  now  started  work  on  the 
direction  of  “The  White  Hope.” 

Albert  Brouett  is  directing  “A  Rogue  in 
Love,”  for  the  Diamond  Company. 

George  A.  Cooper,  director  for  Quality 
Films,  has  vacated  the  B.P.  Studios. 

Olaf  Hytten  has  completed  work  in  “The 
Cause  of  All  the  Trouble,”  for  Albanian. 
He  is  neither  going  to  the  continent  or 
playing  for  Gaumont. 

Pauline  Johnson  has  been  playing  for 
Maurice  Tourneur  in  “The  Christian.” 

Bobbie  Andrews  is  appearing  in  the  new 
Progress  production,  “Little  Miss  Nobody.” 

Phil  Ross  is  photographing  “The  Crimson 
Circle,”  the  first  Kinema  Club  production. 

Harold  Shaw  has  practically  completed 
“Love  and  the  Whirlwind,”  for  Alliance. 

Lewis  Gilbert  is  playing  an  important 
role  in  “Dick  Turpin’s  Ride  to  York,”  for 
Stoll. 

Kenelm  Foss  is  going  to  America  to 
arrange  for  the  distribution  of  his  new 
films. 

Violet  Hopson  is  starring  in  the  new 
Walter  West  production,  “The  White 
Hope.” 

Joe  Rosenthal  is  photographing  the  first 
Kinema  Club  production,  “The  Crimson 
Circle.” 

F.  Martin  Thornton  has  now  nearly 
finished  “A  Sailor  Tramp,”  for  Welsh 
Pearson. 


Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

14  &  43,  Wardour  Street,  W. 

’Phone;  Gerrard  612. 


Maurice  Thomson  is  to  play  for  Gaumont 
in  “Rob  Roy.” 


Mary  H.  Alroyd  is  with  Progress  in 
K  Little  Miss  Nobody.” 

Sybil  Thorndike  is  playing  in  a  series  of 
one  reelers  for  Masters. 

James  Lindsay  is  playing  in  “Little  Miss 
Nobody,”  for  Progress. 

C.  Ransell  ‘is  with  Progress,  playing  in 
“Little  Miss  Nobody.” 

Leigh  Goode  has  taken  a  bungalow  on 
Thames  Ditton  Island. 

Ann  Trevor  is  playing  lead  in  “A  Rogue 
in  Love,”  for  Diamond. 

D.  J.  Williams  is  playing  in  the  Progress 
film,  “Little  Miss  Nobody.” 

Margo  Armstrong  is  playing  in  “  Little 
Miss  Nobody  ”  for  Progress. 

Sidney  Blythe  is  photographing  “Brown 
Sugar,”  for  British  Super. 

Collette  Brettel  is  now  appearing  in 
“Little  Miss  Nobody,”  for  Progress. 

Fred  Paul  is  directing  “Brown  Sugar,” 
for  British  Super,  at  Isleworth. 

Robert  Dykes,  the  cameraman,  is  back 
from  West  Africa,  where  he  has  been  film¬ 
ing  a  scenic. 

Henry  Victor  is  with  Ideal  in  the  new 
Denison  Clift  production,  “A  Bill  of 
Divorcement.” 

Ward  McAllister  is  with  Masters  in 
“Never  too  Late  to  Mend,”  and  “The  Lady 
of  the  Camelias.” 


TRADE  SHOW 
GUIDE 


THERE  are  two  British  productions  due 
for  showing  this  week.  One  is, 
“Uncle  Dick’s  Darling,” 
which  was  adapted  from  the  play  by  Henry 
J.  Byron  and  directed  by  Fred  Paul. 

George  Bellamy  and  Athalie  Davis  play 
the  leading  roles. 

Trade  show  tickets  can  be  obtained  from 
Anchor  Films,  161,  Wardour  Street. 

Trade  Show:  on  Monday,  June  12,  at  the 
Shaftesbury  Pavilion,  at  11.30  a.m. 

*  *  * 

Arthur  Rooke  is  responsible  for  the 
direction  of  the  new  Davidson  production, 

“A  Bachelor’s  Baby,” 

which  was  adapted  from  Rolf  Bennett’s  well- 
known  novel. 

Malcolm  Tod  plays  lead  and  in  the  sup¬ 
porting  cast  are  Tom  Reynolds  as  Capt. 
Rogers,  Haidee  Wright  as  Miss  Fisher,  Con¬ 
stance  Worth  as  Peggy  Woodward,  and 
Maud  Yates  as  Mrs.  Prowse. 

Trade  show  tickets  can  be  obtained  from 
Butcher’s  Film  Service,  Camera  House, 
Farringdon  Avenue,  E.C.4. 

Trade  Show:  On  Thursday,  June  15,  at 
the  New  Gallery  Kinema,  at  11.15  a.m. 

9 


THE  MOTION  PICTURE  STUDIO 


June  io,  1922 


THROUGH  FRENCH  EYES 

E.  Fletcher-Clayton  continues  his  interesting 
comments  on  the  interconnection  of  British 
and  French  films  and  artistes 


Possibly  one  of  the  greatest  mistakes 
ever  made  in  the  film  industry  is  that  of 
trying  to  make  an  “international  ”  film; 
by  which  is  meant  a  film  which  shall 
please  the  greatest  possible  number  of 
kinemagoers  of  each  nationality  and  in 
each  country  where  the  film  is  des¬ 
tined  to  be  shown.  Frankly,  it  cannot 
be  done.  One  may  take  a  story  of 
world-wide  reputation  and  make  a  film 
from  it  with,  say,  three  French  artistes, 
•three  British  artistes,  three  American 
artistes,  and  three  from  Central  Europe. 

W  hen  the  film  is  finished  and  comes 
to  be  presented,  the  British  kinemagoer 
will  probably  dislike  the  acting  of  the 
Cenitrlal  European  artistes,  the  Italian 
kinema  patrons  will  be  unable  to  appre¬ 
ciate  the  British  actors,  the  French 
audiences  will  not  understand  *  the 
American  players,  and  so  on.  I  know 
of  only  one  French  film  in  which  this 
has  been  seriously  attempted,  and  the  re¬ 
sult  is  deplorable.  In  trying  to  please 
everybody  at  one  and  the  same  time, 
everyone  Is  doomed  to  disappointment. 
Incidentally,  the  British  artistes  look 
quite  “out  of  the  picture.” 

On  first  thoughts  one  would  think  that 
an  artistic  alliance  between  our  nearest 
foreign  neighbours  and  ourselves  would,  in 
trims  of  art,  and  possibly  of  business,  be 
almost  inevitably  successful.  In  view  of 
fhc  occasional  and  successful  French  films 
in  which  Britsh  artistes  have  appeared,  it 
is  pleasurable  to  think  so.  But  dreams  must 
give  way  to  reality,  and  the  truth  must  be 
faced  ;  this  is  that  such  a  combination  has 
not  the  possibility  of  success  that  one  is 
tempted  to  suppose.  Were  this  not,  very 
unfortunately,  a  fact,  the  many  attempts 
which  there  have  been  before  and  since  the 
war  to  establish  Anglo-French  film-pro¬ 
ducing  concerns  would  have  borne  fruit. 

As  it  is,  all  these  schemes  lie  “  on  paper.” 

I  personally  know  of  one,  most  happily  con¬ 
ceived,  which  has  rested  like  this  for  years. 
On  the  French  side  the  man  who  is  probably 
the  soundest  film  exploitant  of  the  day  was 
named  as  head,  the  French  director  was  one 
whose  latest  film  is  now  receiving  the 
applause  of  British  kinemagoers ;  land  for 
erecting  studios  was  partially  acquired,  to¬ 
gether  with  a  chateau,  not  very  far  from 
Paris ;  and  a  certain  sum  of  money  was 
provisionally  guaranteed  on  each  side.  Yet 
things  got  no  further,  I  can  prove  every 
word  of  what  1  am  writing,  for  not  only 
have  I  read  the  p-ospectus  but  have  seen 
the  contract  of  one  of  the  parties  mentioned, 
i  he  genei  al  explanation  for  the  holding-up 
of  this  and  many  other  schemes  of  a  similar 
kind,  is  that  ready  money  was  not  forth¬ 
coming  ;  but  I  am  tempted  to  think  that 
there  are  deeper  reasons  than  that  which 
account  for  the  checking  of  such  apparently 
good  enterprises. 

A  hy  hastily  suppose  that  a  fusion  between 


Anglo-Saxon  and  Latin  temperaments  can 
exist?  The  element  for  bringing  the  two 
together  is  Art.  The  Latin  temperament  is 
not  at  all  like  the  British,  and  the  French¬ 
man  thinks  in  an  entirely  different  way. 
Final  reason  may  sometimes,  but  not  neces¬ 
sarily,  be  the  same ;  but  the  process  of 
reasoning  by  and  between  the  peoples  of 
the  two  countries  differs  as  chalk  does  from 
cheese.  So  in  matters  of  art,  matters  so 
arbirtary,  and  in  film  production  in  par¬ 
ticular,  how  is  one  to  arrive  at  perfect 
understanding? 

The  very  fact  that  a  French  film  has  to 
he  “  edited  to  suit  the  British  market  ”  is 
proof  of  this  statement.  Why,  if  temperament 
uoes  not  enter  largely  into  the  matter,  has 
anything  to  be  changed  but  the  language  of 
the  sub-titles?  In  what  does  this  editing  of 
foreign  films  consist?  It  is  an  endeavour, 
consciously  or  unconsciously,  to  eliminate 
ail  the  most  sti iking  national  characteristics 
(other  than  settings  and  costumes,  which 
cannot,  of  course,  be  changed)  which  the 
film  may  possess.  In  other  words,  to  mould 
it,  if  possible,  as  much  to  what  is  known 
as  “  British  taste  ”  as  the  case  will  permit. 
Difference  in  temperament  accounts  for  this  : 
difference  in  mental  outlook,  difference  in 
taste. 

The  British  artiste  who  works  abroad,  and 
especially  in  a  Latin  country,  invariably 
remains  uninfluenced  by  his  new  surround¬ 
ings.  Lfis  British  insularity  is  like  armour 
which  no  foreign  influence,  no  foreign  film 
director,  can  penetrate.  The  internationality 
of  Art,  for  once,  finds  itself  distinctly  at  a 
discount ;  and  particularly  so  in  the  case  of 
a  British  artiste  in  France  or  Italy.  There 
is  not  the  slightest  question  about  the  true 
cordiality  between  the  people  of  either 


ration,  they  w  ho  meet  in  the  trade ;  the 
stumbling-block  is  the  difference  in  mental 
understanding. 

Last  year,  a  certain  very  well-known  and 
highly  appreciated  British  star  artiste,  be¬ 
loved  by  a  large  section  of  British  kinema 
patrons,  went  abroad  to  play  in  a  film 
starring  himself  and  a  French  artiste,  and 
directed  by  a  Frenchman.  The  idea  was  to 
.make  something  approaching  an  “  inter¬ 
national  film,  or,  at  any  rate,  an  Anglo- 
French  ”  production.  But,  I  have  it  from, 
the  mouth  of  the  owner  of  the  Continental 
and  American  rights,  that  the  hardest  place, 
m  which  to  sell  that  film  was  England ! 
'I  he  film  is'  good  and  is  being  successfully 
shown  in  France,  Belgium,  Holland  and 
elsewhere  ;  perhaps  more  on  account  of  the 
French  star  than  anything  else.  For  months 
no  British  film  dealer  would  look  at  it,  so. 
to  speak.  Why?  The  chief  reason  is. 
probably  this  question  of  temperament. 
Even  the  British  star  failed  to  “  pull  the 
film  over  ”  for  his  own  country  ! 

If  this  is  the  “  artistic  experience  ”  of  a 
British  film  star  artiste  abroad,  and  after¬ 
wards  at  home  ;  what  hope  can  the  smaller 
fry  have?  Some  of  them  may  be  successfully 
engaged  in  French  films  where  small  foreign 
parts  are  required  to  be  filled  ;  but  they  can 
have  no  influence  whatever  upon  the  film  as 
a  whole.  Such  an  artiste  can  very  seldom, 
tf  indeed  ever,  impose  himself  or  herself, 
upon  the  production.  They  must,  of  neces¬ 
sity,  always  be  more  or  less  “  out  of  the 
picture.”  Unfortunately,  the  British  artiste 
often  stands  out  like  a  false  note  in  a 
symphony. 

{Concluding  article  next  week). 


STUDIO  CRICKET 

Kinema  Club  Team  (?)  versus  Cyril  Smith’s  Team  (!) 


This  match  was  played  on  Sunday,  at 
the  Gaumont  playing  grounds,  Boston 
Manor.  Had  the  Club  team  turned  out 
anything  like  the  strength  that  was  expected, 
from  the  signatures  on  the  club  notice 
board,  this  might  have  been  a  very  fine 
game.  As  it  was,  it  was  disappointing  to 
all  concerned.  The  march  was  scheduled 
to  start  at  2  p.m.  but  4  p.m.  was  about  the 
time  that  remnants  of  the  Kinema  Club, 
local  enthusiasts,  and  one  or  two  of  the 


THE 

KINEMA  CLUB. 


Clark,  c  Smith,  b  Robins  .  8 

B.  Burleigh,  b  Girdlestone  .  0 

Crouch,  b  Harding  .  12 

K.  W.  Gordon,  b  Harding  .  2 

K.  Gordon  (Haggis)  run  out  .  6 

M.  Tod  (capt.),  b  C.  Ivy  .  3 

Chris.  Walker,  b  Smith  .  3 

G.  Benstead,  b  Smith  .  8 

B.  Freshman,  c  Robins,  b  Cound  3 

Joy,  b  Smith  .  0 

Cullis,  not  out  .  0 

Extras  .  7 


Total  .  52 


opposing  side  took  the  field.  It  was  quite 
a  comedy;  Bertram  Burleigh  fielding  point 
in  a  lounge  suit,  having  been  collected  on 
the  way  by  Geoffrey  Benstead,  who  “long 
stopped  ”  to  Malcolm  Tod,  who  kept  wicket 
with  all  parts  of  liis  anatomy.  Gordon  put 
in  some  very  fine  bowling,  and  Bill  Fresh¬ 
man  was  quite  fast  on  his  legs. 

Just  as  our  side  was  about  to  bat,  Kenneth 
Gordon  was  seen  on  the  horizon  walking 
about  with  a  large  brown  tea-pot,  which 
Tod  spotted. 


CYRIL  SMITH. 


C.  Smith  (capt.),  c  Tod  .  4 

Cound,  b  Walker,  .  15 

Holloway,  b  K.  W.  Gordon  .  0 

Harding  (jun.),  b  Benstead  .  10 

Girdlestone,  c  and  b  K.  W.  Gordon  25 

Harding  (sen.),  not  out  .  49 

Misseldine,  c  and  b  K.  W.  Gordon  0 

C.  Ivy,  c  and  b  K.  W.  Gordon  .  3 

Cullis,  lbw  b  K.  W.  Gordon  .  0 

Reed,  lbw,  b  K.  W.  Gordon  .  0 

Robins,  b  K.  W.  Gordon  .  0 

Extras  .  16 


Total  . 122 


SCORES 


10 


June  io,  1922  THE  MOTION  PICTURE  STUDIJ 


UNCLE  SAM  IN  EUROPE 

by  BERTAD  “  Motion  Picture  Studio  ”  Representative  in  U.S.A. 


jpROBABLY  one  of  the  best-posted  men  in 
film  circles  is  Gus  Inglis,  member  of  the 
firm  of  Willis  and  Inglis,  the  well-’known  re¬ 
presentatives  for  authors,  actors,  and  directors, 
of  which  Richard  Willis,  one  of  the  many 
Englishmen  who  has  won  distinction  in  film 
circles,  is  partner.  Willis  and  Inglis  are 
represented  in  England  by  Willis's  brother, 
Lyle.  Therefore,  on  account  of  his  British 
affiliations,  Mr.  Inglis  can  be  considered 
thoroughly  unprejudiced  concerning  British 
and  American  film  interests. 

Mr.  Inglis  ’s  now  in  New  York  on  a  visit, 
and  I  interviewed  him  on  the  subject  of 
American  studio  conditions  as  they  affect 
the  British  producing  industry,  asking  if 
there  is  any  tendency  on  the  part  of  Ameri¬ 
can  directors  to  use  Great  Britain  for  loca¬ 
tions  or  to  transfer  their  producing  activities 
from  America  to  Europe.  Mr.  Inglis  was 
candid  and  to  the  point. 

He  stated  tnat  several  of  the  stars  who 
have  their  own  companies,  or  contemplate 
having  them,  look  with  favour  upon  making 
productions  abroad,  no  doubt  in  view  of  the 
low  production  costs,  but  they  have  taken  no 
definite  steps  ao  yet,  and  there  are  certain 
difficulties  which  might  deter  them,  which 
will  be  dealt  with  later  in  this  article. 

Florence  Vidor,  who  is  under  the  manage¬ 
ment  of  Inglis,  is  at  present  making  features 
for  Associated  Exhibitors,  but  at  the  conclu¬ 
sion  of  her  contract  would  like  to  make  some 
pictures  in  Europe,  preferably  in  Italy, 
where,  as  Miss  Vidor  is  a  brunette,  she 
might  play  Italian  roles  to  advantage.  Doug¬ 
las  MacLean,  Eddie  Polo,  May  Allison,  and 
Lois  Weber  (the  woman  director)  have  also 
discussed  productions  in  Europe. 


The  producing  organisations,  Mr.  Inglis 
said,  do  not  seem  to  be  making  extensive 
plans  for  work  abroad,  adding  that  at  a 
recent  luncheon  in  Los  Angeles,  Jesse  Lasky 
stated  that  the  bulk  of  Famous  Players’  pro¬ 
duction  would  be  made  in  Southern  Califor¬ 
nia.  The  climatic  conditions  and  the  fact 
that  the  war  has  retarded  the  technical  end 
abroad,  has  had  much  to  do  with  the  re¬ 
luctance  of  directors  to  go  into  European  pro¬ 
duction  on  a  large  scale. 

Nearly  everyone  who  has  been  abroad,  Mr. 
Inglis  stated,  favours  bringing  technical 
forces  from  America,  feeling  that  American 
methods  at  present  are  superior,  although  it 
is  realised  that  in  a  short  time  European 
technical  men  will  make  up  for  the  setbacks 
caused  by  the  war.  Miss  Weber,  if  she  goes 
abroad,  intends  to  take  her  own  technical 
staff,  and  so  does  Miss  Vidor,  who,  in  such 
an  event,  will  include  her  leading  man  and 
kinematographer,  engaging  her  support 
abroad.  France  is  the  country  which  appeals 
to  Miss  Weber,  who  has  been  offered  finan¬ 
cial  backing  there. 

Mr.  Inglis  stated  that  there  does  not  ap¬ 
pear  to  be  much  financial  backing  in  America 
for  pictures  made  abroad  by  American  stars 
or  directors,  and  this  seems  to  be  due  to 
fear  of  climatic  and  technical  condiitions. 
However,  he  believes  that  productions  made 
abroad  featuring  well-known  Americans  will 
command  European  financial  backing. 

Another  element,  in  addition  to  the  points 
already  indicated,  which  will  militate  against 
extensive  European  production  by  prominent 
American  film  companies,  is  that  these  com¬ 
panies  have  invested  heavily  in  Southern 


California,  and  therefore  would  be  reluctant 
to  curtail  production  there  because  of  the 
heavy  loss  if  large  blocks  of  real  estate  were 
suddenly  unloaded  on  the  market.  Los  An¬ 
geles  is  not  a  great  manufacturing  city  like 
New  York  or  Chicago,  where  deserted 
studios  were  quickly  taken  over  for  business 
purposes. 

It  will  be  seen  from  the  interview  with 
Mr.  Inglis  that  it  is  the  stars,  rather  than 
the  large  firms,  who  are  likely  to  work 
abroad,  and  in  order  to  retain  their  interest, 
a  big  improvement  will  be  necessary  in  tech¬ 
nical  methods.  It  is  a  foregone  conclusion 
that  no  star  or  director,  controlling  their 
own  company,  will,  except  in  unusual  cases, 
take  camera-men  and  staffs  abroad  if  men 
oc  equal  ability  can  be  secured  on  the  other 
side  for  the  same  money  or  probably  con¬ 
siderably  less,  particularly  in  England, 
where  the  language  difficulty  does  not  pre¬ 
sent  itself,  as  in  Italy,  France,  or  Germany. 
There  is  a  heavy  expense  for  every  person 
taken  abroad,  and  it  will  be  noted  that 
American  companies  working  in  England 
bring  vcy  few  actors  from  this  country, 
except  the  star,  and  possibly  a  leading  man 
or  woman,  but  they  generally  import  a  full 
technical  staff. 

The  climate  is  another  hurdle  to  surmount. 
The  same  condition  resulted  in  New  York 
losing  its  film  supremacy  to  Los  Angeles. 
Directors  working  in  New  York,  who  prefer 
it  to  Hollywood,  declare  that  the  latter  place 
is  more  desirable  because  of  superior  cli¬ 
matic  conditions.  Improvement  in  technical 
methods,  however,  might  lure  many  a  com¬ 
pany  to  Great  Britain. 


A  QUESTIONNAIRE 

FOR  WOULD-BE  PHOTO 
PLAYWRIGHTS 

by  F.  RUPERT  CREW 

A  WELV  -KNOW  N  film  director  complained  very  bitterly  to 
me  the.  other  day  about  the  deplorable  number  of  folks  who 
aie  daily  stiiving  to  write  stories  and  scenarios  for  the  screen, 
and  who,  for  the  most,  are  merely  wasting  their  own  time  and 
his.  I  he  following  little  questionnaire  might,  I  venture  to  think, 
prove  useful  to-  the  ambitious  person  who  imagines  that  he  or 
she  has  the  ability  to  achieve  suocess  as  a  screen  dramatist. 

Why  do  you  wish  to  write  photoplays? 

Do  your  thoughts  and  expressions  run  naturally  in  that  direc- 
tion  ? 

Are  you  really  attracted  by  an  innate  love  for  the  photoplay  as  a 
medium  for  your  dramatic  expressions? 

Or  are  you  merely  fdscinated  by  the  glare  of  the  enormous 
rewards,  which,  you  are  p rehab ly  told,  sometimes  fall  to  the  lot 
of  the  really  successful  screen  playwright  ? 

Are  you  certain  that  you  possess  a  vivid  imagination? 

Have  you  always  been  fond  of  writing  and  reading  fiction? 

Have  you  really  stories  to  tell? 

Or  do  you  merely  think  you  have? 

Has  human  nature  always  held  a  tremendous  fascination  for 
you? 

If  you  can  answer  these  questions  faithfully  and  successfully  ; 
if  you  feel  that  you  are  given  to  think  in  action  ;  if  you  want 
to  make  people  move  and  express ;  if  you  would  rather  centre 
your  dramatic  expressions  in  the  direction  of  the  silent  drama 
because  of  its  appeal  'to  you — then  assuredly  would  I  sav 
photo-playwriting  is  your  forte,  and  if  only  ycyj  will  take  sufficient 
trouble  to  study  the  medium,  you  should  ultimately  achieve 
success. 


BRITISH  FILMS  HANDICAPPED 

by  SIDNEY  JAY 

IWTUCH  has  been  written  in  the  past  on  this  very  subject  and  my 
J-VA  observations  based  on  long  association  with  the  various  Film 
Producing  Companies  are  as  follows  : 

The  film  industry  in  this  country  is  still  in  its  infancy.  How  often 
does  one  hear  the  cry  “  British  Pictures  are  not  up  to  the  standard  of 
American  Productions  ”  ?  How  many  people  who  utter  these  words 
realise  that  production  was  at  a  standstill  in  this  country  during  the 
war  for  over  five  years  ?  During  this  time,  America  was  able  to  gain 
knowledge  and  practically  capture  the  whole  world’s  market  and  by  so 
doing  were  able  to  make  films  the  third  industry  in  America. 

There  is  not  the  slightest  doubt  that  lack  of  capital  is  also  responsible 
for  the  stagnation  of  the  trade  here.  Capital  has  been  given  freely  in 
the  past,  but  what  has  been  done  with  it  ? 

How  often  when  we  pick  up  our  trade  papers  do  we  see  full  page 
advertisements  of  new  Companies  and  the  names  of  their  intended 
productions,  but  how  many  of  these  boosted  films  have  ever  seen  the 
light  of  day  or  have  been  a  financial  success  for  those  who  have  provided 
the  necessary  capital  ? 

We  have  only  to  read  the  names  of  the  men  who  have  been  given 
the  position  of  Directors  with  these  concerns  to  realise  why  they  have 
been  failures.  How  these  men  have  managed  to  gain  the  confidence 
of  those  responsible  for  the  finance  is  beyond  my  understanding. 
What  qualifications  have  they  ever  possessed  to  produce  ?  Within 
this  last  month  or  so  amongst  the  new  companies  promoted  a  lad 
who  cannot  be  more  than  twenty  (if  that)  and  who  was  until  recently 
a  clerk  in  an  office,  has  been  engaged  to  direct  and  is  in  fact  casting 
at  the  moment. 

Until  these  sort  of  people  are  banished  from  the  industry,  the  fate 
of  future  British  productions  will  not  only  hang  in  the  balance  but 
cease  altogether. 

On  the  other  hand,  there  is  the  competent  director,  who  is  bound 
hand  and  foot,  not  by  lack  of  capital,  but  by  hard  and  fast  studio 
routine,  which  makes  it  practically  impossible  for  him  to  use  what 
genius  he  does  possess. 

Pictures  can  be  made  a  financial  success  in  this  country,  and  I  speak 
with  personal  knowledge  when  I  say  that  a  well-known  director  has 
produced  three  pictures  during  this  last  eleven  months,  all  of  which  have 
been  sold  outright  and  at  an  excellent  profit.  Surely  this  should 
speak  for  itself  on  the  future  of  British  productions. 


11 


THE  MOTION  PICTURE  STUDIO 


June  io,  192,, 


DIRECTORIAL  DIGEST 


In  order  to  keep  our  readers  informed  I 
as  to  the  whereabouts  and  movements  of  1 
British  directors  we  have  compiled  the 
following  record,  which  will  be  published 
regularly  and  kept  up  to  date.  Will  direc¬ 
tors  kindly  communicate  news  of  their 
immediately  future  plans  ? 

Dave  Aylott.- — Just  finished  making  a 
series  of  comedies  for  Parkstone  Films. 

J.  Stuart  Blackton. — Preparing  to  start 
work  on  “  Love’s  April,”  featuring  Car- 
pentier. 

Einar  J.  Bruun.- — Recently  finished  “  The 
Comer  Man  ”  for  Associated  Exhibitors. 
Thomas  Bentley.  - —  Last  picture  :  “  A 

Master  of  Craft  ”  for  Ideal  at  Elstree. 
Adrian  Brunel. — Finished  directing  for 
Solar. 

•George  Beranger. — Just  finished  ‘‘Thou 
Shalt  Not  ”  for  Binger  in  Holland.  Now 
in  New  York. 

A.  V.  Bramble.- — -Completed  “  The  Card  ” 
for  Ideal  at  Elstree. 

Hugh  Croise. — Completed  “  The  Cow  Girl 
Queen.” 

Captain  Calvert.  —  Cutting  “  Lord 
Byron  ”  for  Gaumont. 

Frank  Crane. — Completed  “A  Pauper 

Millionaire  ”  for  Ideal. 

Donald  Crisp.- — -Wcrkingon  “Lark’s  Gate. 
He  is  to  direct  several  Crisp  productions. 

Denison  Clift. — Is  now  starting  the  series 
of  “  Denison  Clift  Art  Productions,”  in 
association  with  Ideal  Films,  Ltd.  The 
first,  because  of  an  immediate  American 
demand,  is  “  A  Bill  of  Divorcement,”  now 
in  production,  with  Fay  Compton  as  the 
star:  This  wall  be  followed  immediately 
by  a  super-production  of  “  Mary  Queen  of 
Scots,”  with  Fay  Compton  as  Mary  Stuart. 
A.  E.  Coleby. — Completed  “  Long  Odds  ” 
for  Stoll. 

Edwin  J.  Collins. — Directing  a  new 

series  of  one  reelers  for  Masters. 

Bernard  Dudley. — Directing  Comedies  at 
Croydon. 

William  Drury. — Completed  “  The  Twins 
Dilemma  ”  for  Union. 

Jack  Denton.- — Last  productions,  “  Our 
Aggy,”  and  a  screen  burlesque  of  Sherlock 
Holmes  for  Milo  Films. 

Henry  Edwards. — Busy  on  plans  for  a 
Hepworth  production. 

Maurice  Elvey. — Now  directing  the  in¬ 
teriors  for  “  Dick  Turpin’s  Ride  to  York” 
for  Stoll, 

Kenelm  Foss. — Is  now  planning  three 
productions  for  1922.  These  are  “  A  Be¬ 
loved  Vagabond,”  “  Everlasting  Mercy,” 
and  “  M’Glusky  the  Reformer.”  Has  just 
sailed  for  America 

Walter  Forde.  —  Completed  the  sixth  of 
a  series  of  six  comedies  for  Zodiac. 
Fred  Le  Roy  Granville.— With  British 
International  for  whom  he  will  direct 
“  The  Price  of  Silence.”  Now  in  Tripoli 
for  exteriors. 

Edward  R.  Gordon. — Just  completed 
“  Rounded  Corners,”  for  George  K. 
Arthur  Productions. 

Kenneth  Graeme. — Recently  finished  some 
comedies. 

Bert  Haldane.- — Recently  directed  a  Rising 
Sun  Comedy  at  Barkers. 

Manning  Haynes. — Is  directing  another 
comedy  for  Artistic. 

Sinclair  Hill.  —  Completed  his  latest 
Stoll  production,  “Expiation.” 

!2 


A.  C.  Hunter. — At  the  Alliance  Studio. 

Will  Kellino. — Started  directing  “  Rob 
Roy  ”  for  Gaumont. 

Harley  Knoles. — Finished  “The  Bohemian 
Girl,”  for  Alliance. 

Lisle  Lucocque.- — Last  production,  “  Where 
the  Rainbow  Ends.”  Not  working  at  the 
moment. 

Captain  Lamb  art.- — Will  direct  “  Clatter  o^ 
the  Clogs  ”  for  Lambart  Films. 

Norman  MacDonald.- — Last  production’ 

“  Christie  Johnston  ”  for  Broadwest. 

Merrick  Milton.  —  Now  back  from  the 
Canary  Islands  where  he  has  been  direct¬ 
ing  “  The  Adventures  of  Captain  Kettle.” 

Duncan  McRae. — Not  working  at  the 
moment  other  than  considering  and 
writing  stories. 

Geoffrey  Malins.  —  Filming  the  Flight 
Round  the  World. 

Sydney  Morgan.  —  Is  at  the  moment 
writing  plays. 

Wilfred  Noy. — Directing  “  Little  Miss 
Nobody  ”  for  Progress  at  Shoreham. 

Guy  Newall. — On  location  with  his  George 
Clark  company,  for  exteriors  in  “  Fox 
Farm.” 

Percy  Nash.— Having  a  short  rest  between 
productions. 

H.  B.  Parkinson. — Just  completed  an 
important  new  film  for  Masters.  Now 
directing  a  new  series  of  shot  features  at 
Teddington. 

George  Pearson. — Working  on  “  Wee  Mac¬ 
Gregor’s  Sweetheart.” 

Douglas  Payne.— Has  just  finished  work 
on  “  Potter’s  Clay,”  for  Big  Four. 

Bertram  Phillips.- — Completed  “  Topsy 
Turvy  ”  for  British  and  Oriental.  Will 
announce  next  production  shortly. 

Fred  Paul.  - — Finished  Grand  Guignol 
dramas,  and  now  making  “  Brown 
Sugar  ”  for  British  Super. 

James  Reardon. — Finished  direction  of 
comedies  at  the  Gaumont  Studios. 

Edward  D.  Roberts. — Directing  “  The 
Cause  of  all  the  Trouble  ”  at  Barkers. 

Arthur  Rooke.- — Completed  “  A  Bachelor  s 
Baby  ”  for  Davidson.  Started  a  new 
sporting  film  for  the  same  company 

George  Ridgwell. — Has  just  finished  sixty- 
five  reels  of  film  for  Stoll.  Now  directing 
the  Club  production. 

Victor  Rowe. — Recently  finished  "  Football 
Daft,”  for  Broadway  Productions. 

Jack  Raymond.- — Finished  Grand  Guignol 
for  Screen  Plays.  Not  working  at  the 
moment. 

Harold  Shaw.- — Working  on  an  Alliance 
picture,  “  Love  and  the  Whirlwind.” 

Challis  N.  Sanderson. — Directing  a  series 
of  one  reelers  for  Masters. 

Martin  Thornton.- — Now  directing  Victor 
McLaglen  in  “  A  Sailor  Tramp,”  for 
Welsh-Pearson. 

Bert  Wynne. — Finished  “  Meg’s  Children.” 
Will  direct  a  Seal  production  in  Ireland. 

George  Wynne.- — Directing  for  Masters. 

Humberstone  Wri'ht. — Editing  “  Crea¬ 
tion,”  for  Raleigh  King  at  Torquay. 

Walter  West.—'  ompleted  “  The  Son 
of  Kissi'  g  Cup.”  Started  on  “  The 
White  Hope.” 


B.  A.  F.  D. 

Report  of  the  last  meeting  of  the  British 
Association  of  Film  Directors  which  ha$ 
now  secured  Headquarters  at  the  Kinema 
Club. 

PT1BE  British  Association  of  Film  Direc- 
■*-  tors  met  at  the  Kinema  Club  on  May 
26,  Percy  Nash  (president)  in  the  chair. 

Sinclair  Hill  was  proposed  for  member¬ 
ship  by  George  Ridgwell,  seconded  by  Hugh 
Croise,  and  unanimously  elected. 

The  greater  part  of  the  time  of  the  meet¬ 
ing  was  occupied  by  the  discussion  of  the 
rules  of  the  Association,  which  were  ulti¬ 
mately  agreed  to. 

The  most  important  of  the  rules  provides 
that  the  names  of  candidates  for  member¬ 
ship  shall  be  notified  by  the  proposers  io 
the  honorary  secretary  (W.  G.  Faulkner)  at 
least  ten  days  before  the  monthly  meeting 
(the  last  Friday  in  each  month  at  8  p.m.), 
and  the  names  shall  be  submitted  on  the 
agenda  for  that  meeting.  Any  objection  to  a 
name  must  be  notified  in  writing  to  the 
honorary  secretary  before  the  date  of  meeting 
or  personally  at  the  meeting.  Such  objector 
or  objectors  shall  attend  the  meeting  of  the 
committee,  to  whom  the  objection  shall  be 
referred,  and  whose  decision  shall  be  final. 

The  Association  shall  have  power  to  raise 
the  subscription  and  to  fix  an  entrance  fee, 
after  due  notice  being  given  to  the  members 
of  a  proposal  to  do  so. 

SCREEN  VALUES 

“  Stable 
Companions  ” 

British  Super  Production — Starring  Lilian 
Hall  Davies  and  Clive  Brook — Supported 
by  Robert  English,  Arthur  Pusey,  James 
Wigham,  Fred  Mason  and  Chic  Wonge— 
Directed  by  Albert  Ward — Photography 
by  Sidney  Blythe. 

T30SSESSING  all  the  ingredients  of  the 
usual  racing  melodrama,  “Stable  Com¬ 
panions  ”  has  the  advantage  of  having  the 
situations,  served  up  in  a  new  and  attractive 
way. 

Albert  Ward  has  handled  the  production 
excellently,  and  has  instilled  plenty  of  punch 
into  the  big  racing  scenes  ;  a  novel  innova¬ 
tion  being  the  colouring  of  the  jockey’s  hats 
and  coats  so  that  they  can  be  easily  followed 
in  the  racing  scenes. 

The  acting  is  good  throughout  without 
being  particularly  noteworthy. 

Robert  English  gives  a  convincing  study 
as  Sir  Horace. 

Lilian  Hall  Davies  does  exceedingly  well  as 
the  heroine,  while  Clive  Brook  makes  a  fine 
villain. 

Arthur  Pusey  is  good,  and  the  supports 
are  all  equal  to  the  demands  put  upon  them. 

The  continuity  runs  smoothly,  and  the 
scenarist  has  worked  up  the  incidents  excel¬ 
lently. 

Photography  is  magnificent.  Once  again 
Sidney  Blythe  proves  himself  to  be  a  past- 
master  at  the  art  of  taking  kine  pictures.  The 
race  scenes  are  particularly  worthy  of  note. 

SUMMARY. 

Direction. — Excellent. 

Leads. — Good. 

Supports. — Adequate. 

Literary. — Continuity  and  scenario  excel¬ 
lent. 

Interiors. — Convincingly  staged. 

Exteriors.— Suitable. 

Photography. — Fine. 

Lighting. — Good. 


June  io,  1922 


THE  MOTION  PICTURE  STUDIO 


HISTRIONICS  AS  A  SCIENCE 

by  COLONEL  NETTERVILLE  BARRON,  C.M.G.,  M.V.O. 

By  the  courtesy  of  H.  L.  Barbor,  the  editor  of  the  “  Actor,”  we  continue  this  week  the  series  of  articles  on  the  scientific  aspect 
of  acting.  Colonel  Barron  is  a  physician  and  dramatist  and  is  a  Fellow  of  the  Royal  Society  of  Medicine.  He  is  the  author 
of  “  The  Three  Brothers”  and  other  wordless  plays,  and  founded  the  Windsor  Forest  School  of  Physical  Culture.  He  is 

well  known  as  a  lecturer  on  the  Art  of  Dramatic  Expression. 


SECOND  ARTICLE. 

N  actor  resembles  an  artisan  in  being 
human  and,  like  the  workman  he  is. 
has  human  attributes.  He  is  not,  in  short, 
a  machine  which  moves  to  order,  even  if  his 
art  be  an  art  of  movement. 

These  articles  designedly  exclude  con¬ 
sideration  of  scenery,  costume,  masks,  light¬ 
ing  and  music,  all  of  which  could  come 
under  the  heading  “  Dramatic  Art.  ”  We 
make  no  reference  to  the  composition,  action, 
or  literary  requirements  of  plays.  We 
imagine,  as  it  were,  the  actor  standing  before 
us  on  the  stage,  and  we  ask  ourselves  what 
he  shall  do  and  how  he  shall  do  it.  The 
author  has  already  laid  down  what  he  shall 
s.ay  and,  if  he  be  versed  in  his  art  (which 
we  shall  assume  to  be  the  case),  he  will  be 
prepared  to  tell  the  actor  when  to  hurry, 
when  to  go  slow,  when  to  pause  (and  for 
how  long),  when  to  emphasise  and  when  to 
slur. 

That  acting  is  movement  can  be  proved 
by  visiting  almost  any  theatre.  We  shall 
certainly  see  some  actor  who  has  ceased  to 
move  and  has,  therefore,  ceased  to  act.  We 
shall  also  see  too  .much  movement,  which  is 
over-acting,  and  we  shall  see  wrong  move¬ 
ments,  which  are  a  sure  sign  of  bad  acting. 

One  absolutely  necessary  qualification  of 
a  teacher  of  acting  is  that  he  should  know 
the  laws  of  movement.  They  are  psycho¬ 
logical  laws,  many  of  them  of  somewhat 
recent  date,  psychology  (especially  in  its 
physiological  aspect)  being  more  or  less  a 
new  science. 

We  must  not  be  put  off  by  the  painter- 
poets  who,  inflamed  by  their  aesthetic  emo¬ 
tions,  seek  to  confuse  the  actor  by  denying 
his  necessity.  It  is  a  fashion  of  “moderns” 
to  rebel  against  flesh  and  blood,  and  they 
have  been  particularly  frightened  by  the 
advent  of  the  “movie  ”  cameraman.  They 
need  not  be,  for  the  cameraman  will,  before 
we  have  done  with  him,  prove  to  be  a  real 
friend,  showing  us  our  faults,  recording  our 
triumphs. 

There  is  an  argument  advanced  against  the 
teaching  of  elaborate  movements.  It  runs 
something  as  follows: — Surely,  if  you  teach 
all  pupils  to  move  dramatically  alike,  you 
tend  to  stereotype  movement  and  therefore 
to  ruin  the  pupil’s  chances,  which  are  good 
or  bad,  according  to  his  individuality  and 
not  according  to  his  mechanical  proficiency, 
'the  answer  is,  briefly,  “No.”  Both  Rubin¬ 
stein  and  Miss  Peckham  Rye  have  been 
taught  to  play  the  piano.  They  have  been 
taught  scales  and  exercises  (movements),  but 
they  do  not  move  alike. 

The  actors  who  will  be  alike  are  those  who 
cannot  move  dramatically,  not  those  who 
can.  Principles  are  constant,  execution 
varies  ad  infinitum. 

As  promised,  we  will  discuss  (of  necessity 
briefly)  the  movements  peculiar  to  the  Pri¬ 
mary  Emotions,  leaving  the  Secondary 
1.  motions,  such  as  Revenge,  Anxiety, 
Jealousy,  to  a  later  article.  We  will  take 
the  Primary  Emotions  in  the  order  previously 
se*  forth.  A  lable  will  be  found  at  the  end 
cl'  the  article  which  gives  the  movements  in 
detail. 

First  we  will  suggest,  some  laws  of  dra¬ 
matic  movement :  — 

(i)  Dramatic  movements  vary  in  accord¬ 
ance  with  speech  and  silence  (when  speech 
is  not  used  they  are  increased  in  accent  and 
degree). 


(2)  Dramatic  movements  vary  m  accord¬ 
ance  with  the  temperament,  disposition,  and 
character  of  the  person  represented. 

(3)  Dramatic  movements  vary  in  pace  (the 
speed  of  the  movement),  accent  (the  em¬ 
phasis  of  the  movement),  style  (i.e.  a  char¬ 
woman  or  a  duchess),  and  degree  (the  range 
of  the  movement). 

(4)  Dramatic  movements  vary  with  the  sex 
o.i:  the  person  represented 

^5)  Dramatic  movements  are  affected  by 
the  character,  temperament,  disposition, 
style,  sex,  and  age  of  the  artist. 

(6)  Dramatic  mo-ements  are  intended  to 
be  exhibited  on  a  stage.  They  are  to  be  seen 
from  a  distance,  and  are  set  against  a 
selected  background.  Sometimes  they  have 
to  conform  to  the  beat  of  music.  They  are 
therefore  not  natural,  although  to  the  un¬ 
initiated  they  may  appear  so. 

Bear  the  above  laws  in  mind  when  work¬ 
ing  out  the  ndividual  movements  with  the 
help  of  the  table,  and  remember  also  that  we 
ait  discussing  movement,  not  posing.  The 
movement  counts  from  its  start  to  its  com¬ 
pletion.  It  is  in  reality  often  succeeded  by 
relaxation,  when  the  parts  affected  fall 
naturally  into  the  position  of  rest.  On  the 
other  hand,  one  dramatic  movement  often 
immediately  succeeds  another  without  an 
interval  of  rest.  This  is  always  the  case  in 
portraying  the  Secondary  Emotions. 

Sex. — The  movements  of  Sex  are  mainly 
tire  movements  of  chasing  and  being  chased  ; 
that  is  to  say,  if  we  were  to  set  out  delibe¬ 
rately  to  act  Sex,  which  should  never  be 
necessary.  The  other  movements  of  Sex  need 
rot,  therefore,  be  described,  especially  as 
they  are  invariably  (on  the  stage)  modified 
by  circumstance,  the  presence  of  other  emo¬ 
tions,  and  by  the  movements  associated  with 
intellectual  consciousness  and  will. 

Moreover,  we  have  to  our  credit  the  sex  of 
the  artists  themselves.  Sex  is,  in  any  case, 
a  difficult  subject  to  discuss  in  a  popular 
magazine.  It  is  a  mistake  to  suppose  that 
familiarity  with  an  emotion  (even  if  that 
familiarity  be-  intellectual!  tends  towards  ils 
control. 

Because  of  its  strength  and  because  of  its 
toe  direct  appeal  to  the  Yahoo,  sex  is  a 
dramatic  weapon  of  tremendous  power. 
There  are  misguided  “educationalists”  who 
imagine  that  by  exploiting  the  vicissitudes 
o[  sex  on  the  stage  we  are  purifyine  the 
morals  of  British  youth. 

If  it  be  true  that  morality  has  no  connec¬ 
tion  with  the  art  of  a  painter  (and  we  hasten 
to  deny  it),  morality  has  every  connection 
with  the  art  of  an  actor.  The  actor  is  going 
to  be  the  greatest  propagandist  of  the  future. 
By  reason  of  the  kinema  he  is  already  one 
of  the  most  widely  influential  of  educative 
forces.  His  art  is  peculiarly  for  the  people, 
and  for  that  very  reason  both  dramatist  and 
artist  should  combine  in  eliminating  trom 
our  stage  all  hint  of  the  impure.  Sex  can 
be  very  beautiful,  it  can  also  be  very 
beastly. 

Tenderness,— Is  essentially  the  emotion  of 
the  mother  instinct.  It  is  an  element  of  a 
large  number  or  Secondary  Emotions  and  of 
the  sentiment,  love.  It  is  of  great  strength 
and  persistence,  but  often  vanishes  some¬ 
what  suddenly  in  old  age.  It  is  frequently 
confused  with  sympathy. 

Sympathy.— Is  the  emotion  of  the  crowd 
of  flocks  and  herds.  Combined  with  tender¬ 
ness  it  forms  pity.  Sympathy  is  the  emotion 
which  impels  us  to  look  around  to  see  if  the 


oiher  fellow  1ms  appreciated  a  joke  or  a  fine 
piece  of  acting.  It  is  of  great  importance  in 
dramatic  production,  especially  in  scenes- 
involving  stage  crowds 

Anger. — In  its  intense  stages  is  the  emo- 
tion  of  the  rent  garment,  as  seen  in  Eastern 
mobs.  It  often  causes  twitching  and  even 
general  convulsions,  and  is  one  of  the  emo¬ 
tions  likely  to  be  deranged  in  the  early 
stages  of  insanity.  Sometimes  it  is  followed 
by  collapse,  amounting  to  paralysis. 

Emulation. — Is  rarely  witnessed  in  a  pure 
form.  It  has  a  peculiar  relation  to  sex  and 
in  sex  rivalry  (e.g.  in  a  competition  between 
boys  and  girls;  is  apt  to  pass  in  the  male 
into  shame  and  in  the  female  into  arrogance. 

Wonder. — Is,  on  the  whole,  the  strongest 
of  all  emotions  and  the  one  most  frequently 
demanded  of  the  actor.  There  are  two 
wonders — eye  and  tar. 

Fear.  —Is  ;he  emotion  which  is  most  often 
pure  (unmixed),  but  is  also  an  important 
element  of  many  Secondary  Emotions.  Next 
tc  wonder  it  is,  perhaps,  the  commonest  stage- 
emotion.  The  movements  of  fear  have  a 
very  wide  range.  Sudden  fear  may  cause- 
paralysis  or  even  death. 

Disgust. — Is  usually  a  shuddering  move¬ 
ment.  Very  early  in  life  it  takes  on  a  moral 
colouring  and  later  is  exhibited  as  a  critical 
emotion.  It  us  peculiarly  associated  with  the 
sense  of  touch  and  its  repression  in  youth  is- 
a  common  cause  of  adult  nervous  disabilities. 
In  this  respect  it  shares  with  wonder  a 
greater  responsibility  for  our  ills  than  does 
the  still  more  elemental  emotion,  sex. 

Hunger  or  Thirst.— The  classical  move¬ 
ments  are,  of  course,  sucking  and  champ¬ 
ing.  When  very  strong  the  emotion  is  apt 
to  cause  extreme  restlessness,  followed  by 
apathy. 

Acquisitive  ;  Constructive. — These  are- 
very  complicated  and  the  writer  confesses  to 
having  failed  hitherto  in  tracing  the  appro¬ 
priate  movement  of  the  acquisitive  emotion. 
That  they  are  definite  primary  emotions  is- 
piobably  true,  since  both  appear  early  in 
infancy  and  are  well  recognised  in  animals. 
The  greedy  stare  of  the  miser,  interrupted 
ly  a  swift  sidelong  glance,  can  be  seen 
in  children.  The  constructive  emotion  is 
apparentl-.  a  so  t  of  wonder ,  with  a  particula- 
motor  content  related  to  objects  (such  as 
bricks).  The  acquisitive  emotion  compels  us 
to  collect,  the  constructive  emotion  to 
arrange,  objects.  The  habit  of  drawing  on 
blotting-paper  or  on  the  tablecloth  while 
conversing,  is  an  instance  of  the  constructive 
emotion  in  subconscious  operation.  This 
sort  of  movement  is  of  dramatic  value  when 
we  desire  to  indicate  the  character  of  an 
artist,  writer,  architect,  etc. 

Display. — The  so-called  positive  emotion. 
It  is  essentially  masculine  but  as  we  are 
psychologically  bi-sexual,  it  is  also  innate 
in  women. 

Submission. — The  negative  emotion  which 
is  essentially  feminine  although  occurring 
in  the  male.  An  average  man  is  seven  parts 
positive  and  three  negative ,  and  an  average 
woman  shows  exactly  the  reverse.  These 
two  emotions  are  practically  always  in 
operation,  and  it  is  essential  that  the  actor, 
when  expressing  “  character,”  should  have 
first  decided  cn  the  proportion  of  positive 
and  negative  movements  he  proposes  to 
employ.  For  some  reason,  not  very  clear, 
the  normal  relationship  of  these  two 

( Continued  on  page  15.) 


13 


THE  MOTION  PICTURE  STUDIO  June  io,  1922 

CAMERAMEN’S  SECTION 

News  and  Views 
and 

Record  of  Activities  of  Rine-Cameramen 


A  MATTER  OF  ORGANISATION 


r  I  1HE  advent  of  the  American  to  these  shores,  providing  it  becomes  a  real  invasion, 
and  the  Americans  take  the  directing  of  pictures  in  England  seriously  can 
only  mean  one  thing — that  before  long  the  profession  here  will  find  big,  well- 
organised  studios  springing  up.  and  that  the  successful  American  business  ingredient, 
known  as  “  Pep.”  will  be  instilled  into  the  industry  here,  as  it  has  been  in  the  States. 

From  the  cameramen’s  point  of  view  is  this  desirable  ? — these  highly-organised 
concerns,  with  their  highly-organised  staffs  ?  After  due  consideration  of  the  many 
so-called,  well  organised  studios,  we  begin  to  doubt  whether  this  prospect  is  desirable. 
Many  small  firms — one  men  shows,  as  they  are  called —  turn  out  better  photographic 
quality  than  the  tigger  studios,  which  are  considered  to  be  right  up  to  date,  and  to 
have  a  flawless  sys  em  of  organisation. 

Why  should  this  be  ?  What  is  the  explanation  ?  It  is  that  in  the  small  studios 
the  cameraman  does  not  merely  photograph  a  scene,  but  also  has  the  facilities  to  discuss 
with  the  dark  room  manager — the  exposure  and  other  details,  as  well  as  superintend 
the  developing  of  his  negative. 

In  the  larger  studio  things  are  not  always  in  so  happy  a  state.  There  are  too  many 
people  destined  to  handle  the  negative  after  the  shot  is  taken.  The  cameraman 
has  too  little  to  say  in  the  matter.  He  is  at  the  mercy  of  the  laboratory  man,  who  is 
practically  a  stranger  to  him.  In  other  words,  there  is  not  sufficient  co-operation 
between  cameramen  and  laboratory  worker  in  our  bigger  studios  Our  bigger  studios 
are  well  organised,  but  in  many  cases  not  sufficientlv  well  organised  to  get  co-operation 
and  good  pictures. 

Doubtless  the  Americans,  specialising  as  they  do,  in  business  organisation,  will 
be  able  to  remedy  this  when  the  time  comes — if  it  ever  does— when  the  American 
companies  have  their  big  studios  not  only  in  America  but  also  in  England. 


K.C.S.  OFFICIAL  NEWS 


THE  changing  of  the  meeting  night  from 
Wednesday  to  Friday  resulted  in  some 
members  turning  up  on  Wednesday  and 
others  on  Friday,  but  as  the  new  meeting 
night  has  now  been  made  known  to  all, 
such  a  state  of  affairs  should  not  occur 
again. 


P.  Dennis  gave  an  interesting  lecture  on 
his  work  with  a  camera  in  the  war.  This 
was  illustrated  by  panoramic  views  of  the 
German  trenches.  The  method  of  photo¬ 
graphing  these  panoramas  and  the  lenses 
used,  formed  most  of  the  subject  matter  of 
his  lecture,  and  at  the  conclusion  of  the 
evening  a  vote  of  thanks  was  passed  for 
his  trouble. 


It  is  a  pity  that  more  members  do  not 
come  forward  and  give  lectures  of  this 
kind.  Mr.  Dennis  is  a  comparatively  new 
member,  yet  already  he  has  given  two  inter¬ 
esting  lectures.  Surely,  every  member  has 
at  least  one  subject  on  which  he  could  give 
a  short  talk.  If  a  few  more  of  these  affairs  ! 
could  be  arranged,  i.t  is  probable  that  ] 
attendances  would  improve  greatly. 


There  was  to  be  an  extraordinary  general 
meeting  of  the  society  last  night,  at  Patmac’s, 
tn  V  ardour  Street,  at  7.30,  the  object  being 
to  pass  the  Society’s  accounts  and  deal  with 
other  matters  which  are  to  come  up  for  dis¬ 
cussion.  As  the  business  to  be  dealt  with  is 
important,  we  hope  to  give  a  full  report  in 
our  next  issue. 


Hie  K.C.S.  is  to  start  another  agitation 
lor  badges  ior  its  members,  which  will  give 
them  permission  to  have  the  assistance  of 


i  the  police  in  the  Metropolitan  area  for 
filming.  If  the  Society  could  secure  such 
badges,  it  would  indeed  have  done  a  great 
service  to  its  members,  for  the  present 
system  of  securing  passes  for  every  event 
is  very  impracticable  and  must  be  the 
means  of  given  the  police  a  great  deal  of 
trouble.  If  badges  were  supplied  to  camera¬ 
men,  matters  would  be  considerably  eased, 
and  work  both  for  the  cameramen  and  the 
police  would  be  a  lot  smoother.  In  America 
the  system  of  monthly  and  other  passes  is 
practised  and  found  far  more  workable 
than  issuing  separate  passes  for  every  event. 
In  France  too,  the  police  and  the  camera¬ 
man  work  along  similar  lines.  It  is  only 
in  England  that  the  authorities  are  behind 
in  such  matters.  Surely  by  this  time  the 
Government  has  recognised  the  power  of 
the  screen  and  can  see  how  advantageous  it 
is  to  encourage  the  motion  picture  industry, 
instead  of  placing  obstacles  in  its  way. 


The  question  of  an  outing  for  the  Society 
has  been  raised  two  or  three  times,  but 
such  an  event  is  sure  to  prove  a  difficult 
one  to  organise.  It  would  have  to  take 
place  on  a  Sunday  and  it  might  happen 
that  quite  a  lot  of  Topical  and  Studio  men 
were  away  filming  on  that  day.  Still, 
nerhaps  that  is  looking  at  the  worst  side  of 
it.  The  fact  remains,  however,  that  the 
Society  seems  very  slow  to  decide  and  the 
members  are  not  over  enthusiastic  in  push¬ 
ing  the  matter  forward.  Year  after  year, 
iust  about  this  time,  the  matter  has  been 
brought  up  and  regularly  tamed  down.  It 
remains  to  see  what  will  happen  this  year. 
One  thing  is  certain,  if  anything  is  to  be 
done  in  the  matter,  it  will  have  to  be  done 
quickly,  summer  doesn’t  last  for  ever. 


CAMERAMEN 
AT  WORK 

CAW  A1  Moses  off  to  Ireland  the  other 
^  Saturday.  He  has  gone  over  there  to 
join  Irish  Photoplays,  and  is  under  contract 
with  that  firm  for  three  months.  During  that 
time  he  is  to  film  six  comedies,  which  are 
to  be  directed  by  Jack  McDonagh.  Irish 
Photoplays  is  a  company  composed  purely 
of  Irishmen ;  Moses  being  the  only  excep¬ 
tion. 


James  Fitzpatrick  has  arrived  in  tnis  coun¬ 
try,  on  behalf  of  Thos.  Urban,  and  will 
film  the  localities  with  which  such  famous 
authors  as  Shakespeare,  Scott,  Burns,  etc., 
were  associated.  The  object  of  this  is  for 
a  new  series  of  short  films,  dealing  with 
these  famous  men,  which  Urban  is  making 
in  America.  Many  scenes  are  to  be  filmed 
in  the  States  with  American  artistes  appear¬ 
ing  in  them,  and  by  judiciously  combing 
these  shots  secured  by  Fitzpatrick  and  those 
in  which  the  artistes  appear,  a  short  record 
of  the  lives  of  these  famous  men  will  be 
secured.  I.  Roseman  is  associated  with 
Mr.  Fitzpatrick  during  his  sojourn  in 
England. 


D.  P.  Cooper  and  Jack  Cox  arrived  back 
from  Switzerland  the  other  week,  just  in  time 
to  catch  the  tail  end  of  the  heat  wave.  Cooper 
had  quite  an  exciting  time  during  hig  short 
stay  in  the  Alps,  and  I  am  given  to  under¬ 
stand  that  he  took  a  deal  of  persuasion  to 
get  him  to  climb  glaciers  with  a  camera  on 
his  back,  when  he  first  arrived.  However, 
he  soon  got  used  to  the  country  and  its 
inhabitants,  and  he  and  Cox  were  able  to 
enjoy  themselves  thoroughly.  Some  of 
Cooper's  latest  work  was  seen  at  the  New 
Oxford,  the  other  Friday,  when  Stoll  screened 
“Long  Odds.” 


Jack  Ross  is  now  fixed  up  to  go  away 
on  the  Malaya.  He  is  to  film  the  expedi¬ 
tion’s  adventures  and  has  been  given  a  fine 
roomy  dark  room  in  the  ship,  where  he  can 
develop  negatives  and  attend  to  other  work 
of  the  kind. 

Silvano  Balboni  and  Walter  Blakeley  left 
for  Tripoli  last  week,  where  they  are  to 
film  a  new  Fred  Le  Roy  Granville  pro¬ 
duction  for  Windsor  Films  called  “The 
Price  of  Silence.” 

Leslie  Eveliegli  has  started  work  on  the 
new  sporting  film  for  Davidson.  There 
are  to  be  many  big  race  scenes,  so  Eveliegh 
will  be  given  an  opportunity  to  show  us 
some  more  racing-shots,  like  those  in  “  Sport 
of  Kings.” 

L.  G.  Egrot  is  still  working  on  “A  Rogue 
m  Love,’  at  the  B.  and  C.  studios,  for 
Diamond  Super  Films. 


Joe  Rosenthal  and  Phil  Ross  have  been 
chosen  to  photograph  the  first  Kinema  Club 
production.  Phil  Ross  is  well-known  as  a 
photographer;  his  excellent  work  with 
Harma  and  Broadwest  earning  him  a 
reputation  which  many  would  envy.  Joe 
Rosenthal,  who  has  recently  finished  with 
T-  P.-Lasky,  knows  the  Davidson  studio — 
where  the  production  will  be  filmed — well, 
as  he  has  already  had  a  great  deal  of 
experience  down  there. 


14 


June  to,  1922 


THE  MOTION  PICTURE  STUDIO 


(Continued  from  page  73.) 

emotions  is  often  reversed  in  those  of  marked 
artistic  ability. 

These  emotions  play  a  dominant  part  in 
.all  sexual  inter-action.  “  I  take  ”  and  l!  I 
give  ”  have  been  the  key-words  of  love 
throughout  time.  The  negative  emotion  is 
just  as  strong  as  the  positive.  It  is  not 
merely  an  absence  of  desire  to  display,  it 
is  the  presence  of  an  active  desire  to  submit 
and  even  to  suffer.  Both  emotions  are  apt 
to  be  very  tiresome  in  real  life  and  frequently 
lead  us  into  <.11  sorts  of  trouble. 

Emotions,  being  the  colouring  of  instincts, 
are  born  with  us.  Each  has  its  "separate 
centre  towards  the  back  of  the  brain.  They 
are  subject  to  control  by  the  will  and  the 
Battleground  of  the  never-ending  war  between 
the  body  and  the  mind  is  the  home  of  the 
soul  of  man.  Emotions  of  themselves  are 
neither  moral  nor  immoral ;  they  are  merely 
the  fuel  of  spiritual  life,  the  zeal  of  the 
fanatic,  the  secret  of  poetry,  the  hidden 
fount  of  genius.  They  can  be  used  by  the 
mind  (thought  and  will)  and  can  be  given  a 
glory  by  the  soul  which  their  lowly  origin 
and  perpetual  tendency  to  revert  constantly 
dims.  For  man  is  Body  and  Mind  and  Soul. 
These  three  which  are  separate,  can  be 
analysed  into  movements  by  the  actor  and 
then  recreated  into  a  unit,  which  is  his  Art. 


YOUR 

LETTERS  TO 
FILCHED  MERIT 

May  T  presume  to  ask  you  to  give  publicity 
to  the  fact  that  I  wrote  the  scenario  of  “The 
Wonderful  Story,”  the  Graham-iVilcox  pro¬ 
duction  Trade  shown  cn  May  23  at  the 
Alhambra? 

When  a  scenario  is  written,  even  at  short 
notice,  for  two  gentlemen  who  express  them¬ 
selves  well  satisfied,  it  is  not  unreasonable  to 
expect  one’s  name  to  appear  on  the  screen  ; 
but  although  this  credit  is  often  withheld,  it 
is  surely  cool  for  the  gentlemen  themselves 
to  blazon  forth  on  the  screen  that  they  wrote 
the  scenario.  It  apparently  does  not  strike 
them  that  a  scenarist’s  commissions  may 
depend  upon  his  referring  a  prospective 
employer  to  a  sample  of  his  work. — Patrick 
L.  Mannock. 

ONE  OF  HUNDREDS 

Accept  my  sincere  congratulations  on  the 
attainment  of  fifty-two  consecutive  weekly 
issues  of  The  Motion  Picture  Studio.  A 
notable  achievement  indeed,  considering  the 
lestless  times  through  which  the  Industry 
has  been  passing,  and  something  of  which  to 
be  iustlv  proud. 

r  J  '  


CORNER 

THE  EDITOR. 

If  there  is  anything  that  at  once  strikes 
the  key-note  of  The  Motion  Picture  Studio 
and  may  be  some  little  reward  for  the  con¬ 
tinued  effort  which  has  made  it  what  it  has 
become,  it  is,  perhaps,  the  knowledge  that, 
should  it  for  any  reason  fail  to  appear  on 
the  Saturday  morning  breakfast  table,  the 
unvarying  optimism  of  its  outlook  would  be 
greatly  missed  by  all. — David  Grey. 

PASSED 

URING  the  past  month  the  undermen¬ 
tioned  British  films  have  been  submitted 
to,  and  passed  by,  the  British  Board  of  Film 
Censors  for  exhibition  in  the  British  Isles:  — 
“Bachelor’s  Baby”  (Davidson)  “  U.” 

“  Little  Brother  of  God  ”  (Stoll)  “  A.” 

“  Lonelv  Lady  of  Grosvenor  Square  ” 
(Ideal)  “U.” 

“  Married  to  a  Mormon  ”  (Master)  “  A.” 
“Master  of  Craft”  (Ideal)  “  U.” 

“  Perpetua  ”  (Famous-La.sky)  “  A.” 

“  Persistent  Lover  ”  (.Stoll)  “  FT.” 

“  Naval  Treaty,  The  ”  (Stoll)  “  U.” 

“  Reivate  Squires”  (Stoll)  “A.” 

“  Sbirlev  ”  (Ideal)  “  U.” 


A  TABLE  OF  THE  EMOTIONAL  MOVEMENTS 

NOTE. — Of  the  thirteen  Primary  Emotions,  four — Sex,  Hunger,  Acquisitive  and  Constructive — are 
not  included  in  the  Taole.  Reference  to  theni  will  be  found  in  the  letter-press.  The  numerals 
1,  2,  3  denote  the  degree  of  a  movement  ;  e.g.  ‘  Brows  up,  3/  means  the  eyebrows  are  raised  to  their 
fullest  extent.  ‘  Trunk  bent,  means  that  the  body  is  very  slightly  flexed.  ‘  Mouth  open,  2/  means 
that  the  mouth  is  half  opened.  It  is  assumed  that  a  start  is  made  from  the  military  position  of 
atention,  N — Normal;  R — Right;  L- — -Left  (either  may  be  chosen).  Facial  expression  is  only 
indicated. 


Emotion. 

Head. 

Brows 

Eyes. 

Nostrils. 

Mouth. 

T»-unk. 

Arms. 

Hands. 

Legs. 

Time. 

Remarks. 

Tenderness 

Upl. 

Upl. 

Down  1, 

N. 

Open  1. 

Forward  1 

Forwards 
and  out¬ 
wards  2. 

Palms  up 

Fingers 

open. 

R.  forward 
1. 

Slow. 

The  lips  tremble  and  the  whole 
movement  is  undulating.  For¬ 
ward  knee  slightly  bent. 

Sympathy. 

Down  1. 
Turned  2. 

Inner 
angles 
raised  1. 

Down  1. 

N. 

Open  1. 

Turned  2. 

Carried 
across  and 
to  one 
side. 

Palms  up. 

Fingers 

open. 

R.  forward 
1. 

Slow. 

The  movement  may  be  undu¬ 
lating,  but  is  generally  simple 
and  sometimes  angular.  Knees 
straight. 

Anger. 

Sank. 

Furrowed 

vertically 

3. 

Closed  2. 

Tremor. 

Snarling 

jaw 

protruded 

Forward  1. 

Elbows 

bent. 

Clenched. 

R.  forward 

1. 

Quick, 

Twitches  and  tremor.  Knees 
slightly  bent.  Mouth  may 

froth.  Skin  flushes  and  some¬ 
times  pales.  There  may  be 
sweating,?sometimes  spitting. 

Emulation, 

Up  1. 
Turned  1. 

Furrowed 

vertically 

Fixed. 

Open  2. 

Open  1 

Turned  1. 

Straight 

down 

Clenched 
and  ex¬ 
tended  at 
wrists. 

K.  forward 
1. 

Quick. 

Movements  are  angular. 

Wonder. 

Up  1. 

Up  1. 

Wide  open 

N. 

Open  1. 

Forward  1. 

B.  raised 
with  bent 
elbow.  L. 
carried 
away  from 
side. 

Fingers 

open 

curved. 

R.  forward 
1.  r 

Slow  to 
quick. 

The  bent  arm  changes  position 
according  as  wonder  is  excited 
by  sight  or  sound..  Movements 
vary  from  extremely  angular  to 
undulating. 

Fear. 

Down  2. 

Hair 

rises. 

Up  3, 

Wide  open 

pupils 

dilated. 

Tremor. 

Jaw 

dropped. 

Teeth 

Chatter. 

Bent  2. 

Bent  2  and 
carried  as 
if  to  pro¬ 
tect  face. 

Fingers 

crooked. 

Bent  2. 

R.  back  1. 

Quick. 

Pallor,  sweating,  retchiDg. 
Angular. 

Disgust . 

Down  1. 

Furrowed 

vertically. 

Closed  2. 

Closed. 

Raised  at 
one 

corner. 

Back  1. 

R.  back 
and  bent. 
L.  forward 
and  down. 

Fingers 

crooked. 

Palms 

outards. 

R.  back  1. 
knees  bent 

Slow  to 
quick. 

Slight  convulsions,  spitting, 
retching. 

Positive. 

Up  2. 

Fixed. 

Open. 

N. 

Tight, 

Straight. 

Folded  on 
chest. 

Clenched, 

Apart  and 
straight, 

Quick. 

In  women  the  hands  are  usually 
carried  to  the  hips.  Hands 
extended  at  wrist,  Angular. 

Negative. 

Down  1. 
Turned  1. 

Inner 
angle 
raised  1. 

Closed  1 

N. 

Open  1. 
Tremor. 

Bent  1. 

R.  bent  on 
hip.  L.  j 

hanging. 

R.  flexed. 
L.  open. 

R.  back  1. 

Slow. 

A  slight  flush  with  a  fine  tremor 
is  common.  Undulating. 

NOTE. — The  movements  tabled  are  those  of  a  full  unmixed  emotion.  They  are  suitable  for  class 
work.  Their  truth  cau  be  at  once  determined  by  ‘  feeling’  whether  they  ii  duce  the  appropriate 
emotion  or  not.  When  correctly  performed  they  always  do  ;  a  fact  which  has  a  very  important 
significance,  to  be  discussed  later. 


15 


THE  MOTION  PICTURE  STUDIO 


June  io,  1922 


PRODUCTIONS  AND  WHO 


IS  WORKING  ON  THEM 


Albanian  Film  Co. 

Studio  :  Barker’s,  Ealing. 

Film  :  “The  Cause  of  AH  the 
Trouble.” 

Director  :  Edward  D.  Roberts. 
Stars  :  Flora  Le  Breton,  George  K. 

Arthur,  Olaf  Hytten. 

Stage  :  Completed. 

Alliance  Film  Co. 

Studio  :  St.  Margaret’s,  Twicken¬ 
ham. 

Film  :  “Love  and  the  Whirlwind.” 
Director:  Harold  Shaw. 

Star:  Clive  Brook  and  Marjorie 
Hume. 

Cameraman  :  Phil  Hatkin 
Stage  :  Sixth  week. 

British  International. 


Film  :  “  The  Adventures  of  Billy 
Bunter.” 

Type  :  Comedy  Series. 

Stage  :  Casting. 

Ideal. 

Address  :  Boreham  Woods,  Elstree; 
Herts. 

Studio  Manager:  F.  A.  Kendrick. 
Stage  Manager  :  F.  G.  Knott. 
Film  :  “  A  Bill  of  Divorcement.” 
Director  :  Denison  Clift. 

Stars  :  Fay  Compton  and  Con¬ 
stance  Binney. 

Stage  :  Third  week. 


International  Artists. 

Address  :  57,  Shaftesbury  Av,W  l. 
Film  :  “  The  Lark’s  Gate.” 

J.  Stuart  Blackton. 

Address  :  Bush  House,  Aldwych, 
W.C. 

Film  :  “  Love’s  April.” 

Star  :  Georges  Carpentier. 
Director  :  J.  Stuart  Blackton. 
Stage  :  Starting  shortly. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington. 

Film  :  One  reelers. 


STUDIO  DIRECTORY 

Addresses  and  ’Phone  Nos.  of  all  British  Studios 


Address  :  Windsor  Studios,  Cat- 
ford. 

Film  :  “  The  Price  of  Silence.” 
Director  :  Fred  Granville. 

Type  :  Five  reel  drama. 

Stage  :  Starting. 

British  Super  Films. 

Address  :  Worton  Hall,  Isleworth. 
Film  :  “  The  Faithful  Heart.” 
Director  :  Fred  Paul. 

Stars  :  Owen  Hares  and  Lilian 
Hall  Davis. 

Cameraman  :  S.  Blythe. 

Type  :  Drama. 

Stage  :  Cutting  and  Editing. 


Film  :  “  Brown  Sugar.” 

Stage  :  First  week. 

Davidson 

Film  :  Sporting  drama. 

Director  :  Arthur  Rooke. 
Cameraman  :  Leslie  Eveleigh. 
Stage  :  Second  week. 

Diamond  Super  Production. 

Studio  :  B.  &  C.,  Walthamstow- 
Film  :  “A  Rogue  in  Love.” 

Star  :  Gregory  Scott. 

Director  :  Albert  Brouett. 
Cameraman  :  L.  G.  Egrot. 
Stage  :  Fourth  week. 

Gaumont. 

Studio  :  Lime  Grove,  Shepherd’s 
Bush,  W.  1 2. 

Film  :  “  Rob  Roy.” 

Director  :  Will  Kellino. 
Cameraman  :  A.  St.  Brown. 

Type  :  Historical  drama. 

Stage  :  Starting. 


Film  :  “The  Life  of  Lord  Byron.” 
Director  :  Capt.  Calvert. 

Star  :  Howard  Gaye. 

Cameraman  :  Basil  Emmott  and  A. 
St.  Brown. 

Type  :  Super  production. 

Stage  :  Cutting  and  assembling. 

Ceorge  Clark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Film  :  “  Fox  Farm.” 

Director  :  Guy  Newall. 

Stars  :  Guy  Newall  and  Ivy  Duke. 
Stage  :  Third  week. 

Hardy. 

Address:  13,  Gerrard  St.,  W.l. 


Alliance  Film  Co.,  St.  Margaret’s-on- 
Thames.  ’Phone  :  Richmond  1945. 

Barker  Motion  Photography,  Ltd., 
Ealing  Green,  London,  W.5.  ’Phone  . 
Ealing  211  and  1582— Barmopho,  Ealux. 

British  &  Colonial  Kinematograph 
Co.,  Ltd.,  Hoe  Street,  Walthamstow, 
E.  17.  ’Phone  :  Walthamstow  364 
and  712. 

British  International,  Windsor  Studios, 
Catford. 

British  and  Oriental  Films,  Ltd., 
Thornton  House,  Thornton  Road,  Clap- 
ham  Park.  ’Phone  :  Strcatham  2652. 

British  Famous  Films,  Ltd.,  “Wood¬ 
lands,”  High  P-ai,  Whetstone,  K.20. 
Phone  :  Finchley  ’297. 

British  Photoplays,  Devon  Chambers, 
28  Fleet  Street,  Torquay, 

British  Super-Productions,  Worton 
Hall,  Isleworth.  ’Phone  :  Hounslow 
212. 

Broad  west  Films,  Ltd.,  Wood  Street, 
Walthamstow,  E.17.  ’Phone  :  Waltham¬ 
stow  399 - Broadwest  Films,  Wal¬ 

thamstow. 

Davidson,  I.  B.,  588,  Lea  Bridge  Road, 
Leyton,  E.10.  ’Phono,  Walthamstow  634 

Famous  Players-Lasky  British  Pro¬ 
ducers,  Ltd.,  Poole  Street,  New 
North  Road,  Islington,  N.I.  ’Phone  : 
Dalston  3704. 

Gaumont  Co.,  59,  Lime  Grove,  Shepherd’s 
Bush,  London,  W.12.  ’Phone  :  Hammer¬ 
smith  2090-1-2 - Prolougue,  ’Phone 

London. 

Granger — Linger,  Haarlem,  Holland. 
London  Olfice  :  Granger’s,  Exclusives, 
191,  Wardour  Street,  W.l.  ’Phone  : 
Gerrard  1081  and  1728.  Telegrams  : 
Exclugrang,  London. 

George  glare  Productions,  47,  Berners 
Street,  W.l.  ’Phone  :  Museum  3012. 
Studio  :  Candlemass  Lane,  Beacons- 
field. 

Glen  Film  Producing  Co.,  Ltd.,  20, 
Lisle  Street,  London,  W.C.,  and  “  Bel- 
grave.”  Marine  Terrace,  Aberystwyth. 

Hardy  Film  Co.,  Worton  Hall,  Isleworth, 
Middlesex.  ’Phone  :  Hounslow  212. 

3  arm  a  Clarendon  Co.,  16  Limes  Road, 
Croydon.  ’Phone-:  Croydon  921  and 
2084 - Cinemat. 


Hepworth  Picture  Plays,  Ltd.,  Hurst 
Grove,  Walton-on-Thames.  ’Phone  : 

W  alton-on-Thames  16 - Hepworth 

Walton. 

Ideal  Film  Co.,  Ltd.,  Boreham  Wood 

Elst.ree,  Herts.  ’Phone  :  Elstree  52 - 

Idefllms,  Borehamwood. 

International  Artists  Film  Co.,  Ltd., 
,52  Shaftesbury  Avenue,  W.l. 

Isle  of  Man  Film  Co.,  The  Manx  Studios, 
Isle  of  Man. 

J.  Stuart  Blackton  Productions,  Bush 
House,  Aldwych.  ’Phone:  Central  4048 

Kenneth  Graeme  Film  Syndicate,  3-5, 
Cecil  Court,  Charing  Cross  Road,  London 
W.C.  2.  ’Phone  :  Regent  4475. 

Lamb  art  Films',  Carlton  House,  Regent 
Street,  London,  W.  ’Phone:  Gerr.  4040. 

Master  Films,  Weir  House,  Broom  Road 
Teddington.  'Phone:  Kingston  1617. 

Minerva  Film  Co.,  Ltd.,  110,  Victoria 
Street,  S.W.l.  'Phone  :  Victoria  7545. 

Progress  Film  Co., The  Beach,  Shoreham- 
bv-Sea,  Sussex.  ’Phone  :  Sborehain 
19. 

Raleigh  King  Productions,  Watcombe 
Hall,  Torquay. 

Regulus  Films  :  48,  Carnaby  Street" 

Regent  Street,  W.l. 

Screenplays.  Ltd.,  Cranmer  Court,  High 
Street,  Clapham,  W.4.  ’Phone:  Brixton 

2956. 

Seal  Productions,  181,  Wardour  Street, 
London,  W.l.  ’Phone  :  Regent  4329. 

Stoll  Picture  Productions,  Ltd..  Tem¬ 
ple  Road,  Cricklewood,  N.W.2.  Willes- 
den  3293 - Stollpic,  Crickle,  London. 

Thompson  Productions,  Hoe  Street 
Studios,  Walthamstow.  ’Phone  :  Wal¬ 
thamstow  364  and  712. 

Torquay  &  Paignton  Photoplays,  Ltd., 
Public  Hall,  Paienton,  S.  Devon. 

Union  Film  Co.,  Strand  Street, 
Liverpool.  ’Phone  :  Central  325 

Walter  West  Productions  :  Prince’s 
Studios,  Kew  Bridge,  Brentford,  Middle¬ 
sex.  ’Phone  :  Chiswick  574. 

Wf.l«h,  Pearson  &  Co.,  41-45,  Craven 
Park,  Harlesden,  N.W.10.  ’Phone  : 
Willesden  2862. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


U 


'Phone 


DEBRIE 


99 

Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W. i 


Directors  :  H.  B.  Parkinson,  Ed¬ 
win  J.  Collins,  Challis  Sanderson, 
and  George  Wynne. 

Cameraman  :  Theodore  Thum- 
wood. 

Ty'pe  :  One  reelers. 

Stage  :  Two  a  week. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 

Film  :  “  Little  Miss  Nobody.” 

Director  :  Wilfred  Noy. 

Cameraman  :  S.  Mumford. 

Stage  :  Fifth  week. 


Film  :  “  Pogues  of  the  Turf.” 
Director  :  Wilfred  Noy 
Stage  :  Scheduled. 

Quality  Films. 

Address  :  Thornton  House,  Clap- 
ham  Park. 

Film  :  Pan  stories. 

Director  :  George  A.  Cooper. 
Cameraman  :  Randal  Terreneau. 
Type  :  One  reelers. 

Stage  :  One  a  week; 

Stoll. 

Address  :  Temple  Road,  Crickle. 
wood. 

Studio  Manager  :  J.  Grossman, 
Film  :  “  Running  Water.” 
Director  :  Maurice  Eivey. 
Cameraman  :  J.  J.  Cox. 

Stage  :  Completed. 


Film  :  “  Dick  Turnin’s  Ride  to 

York.” 

Star  :  Matheson  Lang. 
Cameraman  :  Jack  Cox. 

Stage  :  First  week. 

Welsh  Pearson. 

Address:  41-45,  Craven  Park, 
Harlesden,  N.W.  10. 

Film  :  “  A  Sailor  Tramp.” 

Star  :  Victor  McLaglen. 

Director  :  F.  Martin  Thornton. 
Cameraman  :  Percy  Strong 
Stage  :  Fourteenth  week. 


Film  :  “  Wee  Macgregor’s  Sweet¬ 

heart.” 

Star  :  Betty  Balfour. 

Director  :  George  Pearson. 
Cameraman  :  Emile  Lauste. 

Stage  :  Fifteenth  week. 

Walter  West  Productions. 

Film  :  “  Son  of  Kissing  Cup.” 
Director  :  Walter  West. 

Star  :  Violet  Hopson. 

Stage  :  Cutting. 


Film  :  “  The  White  Hope.” 
Director  :  Walter  West. 

Stage  :  First  week. 

Zodiac. 

Film  :  “  Walter  Wants  Work.” 
Director  :  Tom  Seamore. 

Star  :  Walter  Forde. 
Cameraman  :  M.  Rednap. 

Stage  :  Fourth  week. 


Printed  and  Published  by  DDH A MS  PRESS  Lid..  Lon^  Acre,  W.C.2.— June  10,  1922 


\ 


Sidney  Jay  begs  to  notify  his  numerous 
clients  that  he  sails  on  the  Mauretania 
for  New  York  on  Saturday,  June  17th, 
and  will  return  to  London  on  July  3rd. 


181,  WARDOUR  ST., 
LONDON,  W.l. 


'PHONE:  REGENT  4329. 


Clients  will  find  the  same  efficient  service 
as  hitherto  at  their  disposal  during  my 

16  days'  absence. 


THE  MOTION  PICTURE  STUDIO 


June  17,  1922 


BERT  DARLEY, 

Character,  J  uvenile  NComedy 
Featured  in  “  The  Hidden 
Life,'  “  The  Husband  Hun¬ 
ter,”  “  The  Shuttle  of  Life,” 
“  Bu  nt  n,”  “  The  Beggars 
Syndicate.”  ‘'Laughter  and 
Tears,”  “  Our  Agam,”  “  She 
Would  Be  Wicked.” 

31,  St.  Augu-tine's  Road, 
Camden  S  juarr,  N.  U  .1. 


GORDON  BEGG 

Dramatic  —  Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.ll, 

Telephone  :  Battersea  21. 


ERIC  GRAY 

as  the  Idiot  in 
“Four  Men  in  a  Van.” 

Care  of 
Kinema  Club. 


ENA  BEAUMONT. 

Leads  in  “The  Greater  Love,” 
“  The  Golden  Web.”  “  All  the 
Winners,”  "  Patricia  Brent, 
Spinster,”  “  Our  Girls  and 
Their  Physique.”  ‘  Settled  in 
Full,”  “  Watching  Eyes,”  etc. 
i  21,  B:  eakspeai  s  Road 
Brocklej',  S.E  4, 
’Phone  :  New  Cross  622. 


David  Grey. 

Jun.  Straight  or  Character. 

Address- 18a,  Brixton 
Road,  S.W. 

’ Phone  — 

Brixton  2366. 


SYDNEY  WOOD, 

Juv.  Leads  in  “  The  Warrio 
Strain,”  “Her  Benny,”  “  Ever 
Open  Door,”  “  Pars  of  Iron,” 
“The  Flame,”  “The  Will,” 
“  Double  Event.”  “David  and 
Jonathan,”  etc  Address  ; 
The  Laurels  Beverley  Road, 
Anerley,  S.E. 

'Phone  :  Chancery  7080-7081. 


IRENE 

MATHEWS 

Character,  Emotional  and 
Comedy. 

Alliance  Ideal,  Stoll. 

16,  Trentishoe  Mansions, 

90,  Charing  Cross  Rd.,  W.C.2 
'Phone :  Gerrard  1176. 
Photo  hy  Kavana. 


MARJORIE 

VILLIS. 

Corns.  :  4,  Lyall  Street, 
Eaton  Square,  S.W.  1. 
’Phone:  Victoria  974. 


ALEC.  ALEXANDER 

Juvenile  Artiste.  Jnr. 

OFFERS  WANTED. 
All  corns.:  163,  Hackn_y 
Road,  E.2 

’Phone  :  Dalston  2583. 
or  KINEMA  CLUB, 
Regent  2131. 


JOHN  STUART. 


ARTHUR  CLEAVE, 

15,  Shepherd’s  Hill,  Highgate,  N.6. 

'Phone:  Hornsey  1784. 


MARIE  AULT, 

Character  and  Comedy. 

235,  Kings  Road, Chelsea, 


ATHALIE  DAVIS 


Juvenile  Leads, 
Comedy  &  Emotional  Parts. 

DISENGAGED. 

Latest  Trade  Show  : 

“  Un.le  Dick’s  Darling.” 
Corns.  :  70,  Goldhurst  ter¬ 
race,  Hamostead,  N.W.6. 
'Phone  :  Hampstead  £66. 


JUVENILE. 


Late — Samuelson,  Masters, 
Hardy,  Ideal,  etc, 
Cissburv  House,  Auckland 
Road,  Upper  Norwood, 
or  Kinema  Club 
(Regent  2131)  


JUVENILE  LEADS 
Broadwest,  Screen  Plays, 
Glen,  Masters. 

Latest  Productions  : 
“Sinister  Street,”  \ 

“The  Little  Mother,”  /  laea1' 
33,  Acacia  Road,  St.  John’s 
Wood,  N.W.8. 


DONALD 

NEVILLE 


JUVENILE, 

Light  Comedy  Lead:  “The 
Bridge.”  Just  finished  with 
B.  G.  Film  Productions. 
NOW  OPEN  TO  OFFERS. 
All  corns. :  82,  St  Georges 
Road,  South  Belgravia. 
'Phone  ;  Victoria  2316. 


HARRY  J 
WORTH. 

Playing  in 

“  A  Sailor  Tramp.” 
Welsh  Pearson. 
Offers  invited  to  follow. 
'Phone:  Regent  2131. 


MARGARET 

HOPE, 

Character  &  Juvenile  Leads. 

Late  Id  al,  Masters,  Stolls, 
etc.,  etc. 

42,  Blandford  Square, 
Marylebone,  N.W  .1. 
Phone:  Padd.  7211. 


IRENEE  CRAVEN 

LEADS. 

Dignified,  Social, 
Sporting  characters. 
Three  years’  experience. 
Address :  49a,  Clanricarde 

Gardens,  Bayswater.  W.2. 
'Phone  :  Park  1622. 


WALTER  FORDE 

Comedian. 

ZODIAC  FILMS, 
LTD. 

All  corns.  : — c/o  Motion 
Picture  Studio. 


MALCOLM  TOD 

Juvenile  Lead: 

“The  Bachelor’s  Baby,”  • 
Shown  this  week,"  Expiation,” 
and  ‘‘The  Thief,”  showing 
shortly.  Now  playing  Juvenile 
Lead  in  'Dick  iurpin’s  Ride 
to  York.” 

Address:  The  Kinema  Club, 
Regent  2131.  Pro  ate  ’Phone 

iNo.  Western  6882. 


EVELYN 

BRENT 

Latest  Productions, 

“  Demos,”  “  Sonia,” 

“  Laughter  and  Tears,”  etc 
At  present,  Famous  P.-L. 
Bus.  Corns.,  Sidney  Jay, 
181,  Wardour  Street,  YV.l 
Regent  4329. 


C.  TILSON- 

CHOWNE 


LEADS. 

Stoll.  Broadwest,  Alliance. 
Screen  Plays,  Samuelson, 
Masters,  Ideal,  etc 
Address  : — 21,  Westbourne 
Street,  W.2. 

’Phone  :  Paddington  641 


NANCY 

SIMPSON 

Leads  in 

Australian  Productions. 
All  corns. : 

12,  STANS  FIELD  ROAD 
BRIXTON,  S.W 9. 


D.  R.  OVERALL 
HATSWELL 


MARY  ODETTE 


Just  concluded  : 

“The  Faith  ul  Heart”  and 
“  Windows  ” 
(Comedy  Theatie).  gT” 
Latest  Rele  ses  : 

“Wonderful  Year,” 

“All  Roads  Lead  tc  Calvary.’ 
All  corns.  :  Sidney  jay, 

181,  Wardour  Street. 
Reeent  4329. 


JOHN  EAST, 

14,  Ififley  Road,  Hammersmith,  W.  f. 

Ham.  1138. 


JACK  JARMAN 


TONY  FRASER 


Specialities  : — Oriental  and 
Near  Eastern  Parts 
Just  finished  with  Stoll. 

“  Broken  Ko.id,”  •*  Four 
Feathers,’  “The  Lamp  of 
the  Desert.” 

OPEN  I'O  OFFERS. 
Address — 18  Leinster  Sq.. 
W.2.  'Phone— Park  4765 


GEOFFREY 

BENSTEAD, 

CHARACTER  LEAD. 
Horseman,  Athlete,  Stock¬ 
whip  Expert,  Axeman  Stunts, 
etc. 

At  Present  Controlling 
BAND  Z  PRODUCTION 
“REPENTANCE.” 


1  amous-Laskyy  Stoll,  Lon¬ 
don.  Samuelson,  Davidson, 
Ideal,  Broadwrst,  etc. 

7  years  Film  Experience. 
8a,  GOLDERS  WAY, 
GOLDERS  GREEN,  N.W.l. 
or  Kinema  Club. 


Juvenile,  Heavies  and 
Comedy. 

London,  Samuelson,  Broad- 
west,  Masters,  Stoll. 

1 61 ,  Wymering  Mansions, 
Maida  Vale,  W.  9. 
'Phone  :  Paddington  4428. 


LILIAN 

DOUGLAS, 


Just  completed  second  lead 
in  “PERPETCJA”  (Famous 
Players -Lasky). 

At  present  Walter  West 
Sole  Agent,  Picture  Plays. 
Sid  lay.  18 1 .  Wardour  St. 
Phone  ■  Regent  4329. 


2 


June  17,  1922 


THE  MOTION  PICTURE  STUDIO 


ARTISTES 


“THE  LITTLE 
BROTHER  OF 

GOD/’ 

Featuring 

VARIES,  AMIEL, 
NICKAWA 
as  Jean  Marie. 
(Stoll). 

Swimmer  and  Horseman. 
Reference : 

Colonel  W.  F.  Cody 
(Buffalo  Bill). 

Address  : 

60,  Godolphin  Road, 
Shepherd’s  Bush,  W.12. 


M.A.WETHERELL 

LEAD, 

African  Film  Productions. 
LEAD, 
STOLLS. 

All  corns. : 

FRANK  ZEITLING, 

3.  Great  Windmill  Street, 
W.l. 


FRED  WRIGHT. 

The  Crazy  Hunchback 
in  the  colour  film 
‘‘The  Glorious  Adventure," 
Covent  Garden  Theatre. 
THE  COPSE, 
WEST  DRAYTON, 
’Phone.-  Yiewsley  82,  or 
Kinema  Club, 


ft# 

|' ;  >jmfa 

St**! 

E 

DAISY  BURRELL 

Just  finished  playing  lead  in 
‘‘Cinderella  ’’  panto. 

Last  Film  :  Star  part  in 
“  Pride  of  the  Fancy.  ’ 

OPEN  TO  OFFERS. 
39,  Avonmore  Road, 

West  Kensington. 
’Phone  :  Western  675. 


LILIAN 

HALL  DAVIS. 

JUVENILE  LEADS. 
Samuelson,  Ideal,  Gra¬ 
ham  Wilcox,  etc.,  etc. 
All  corns. :  Sidney  Jay, 
181,  Wardour  St.,  W.l. 

Regent  4329.  _ 


LEIGH 

GOODE 

Just  completed  light  juv. 
B.  G.  Productions. 

All  corns.  : 

'  ‘The  Wigwam,’’  Thames 
Ditton  Island,  Surrey. 


FRED  HOWARD, 


Dramatic  or  Humorous 
Leads. 

Boxer,  Wrestler,  Horseman, 
Swimmer,  Motordriver,  etc. 
Now  Starring  in  “Down  on 
the  Farm  ”  (Alldith  Films). 
Address  :  1.  Blenkai  ne  Road, 
S.W.ll. 


THELMA 
MURRAY 

Character  &  Emotional  parts 
Just  finished  work  in  “Crea¬ 
tion”  for  Raleigh  King  Films 
now  playing  lead  for  Masters 
All  corns  :  “LYNOALE.” 
OAKLEY  RD„ 
WHYTELEAFE,  SURREY, 
or  to  the  Kinema  Club. 


DOUGLAS  PAYNE, 

29,  Arragon  Gardens,  Streatham,  S.W.  1. 


ARTISTES 

JACK 

SELFRIDGE 

Juvenile  and  Character 
Leads. 

Late  Turner,  Edison, 
Samuelson,  Master,  Stoll 
Film  Co.,  etc.,  etc. 

All  communications  to — 
Motion  Picture  Studio 


MOIRA 

VERNEY. 


“AN  ENGLISH 
VENUS.’’ 

Gaumont,  F.  P.-Lasky, 
Masters,  Phillips, 
Figure  Special. 

All  corns.  : 

c  to  MOTION  PICTURE 
STUDIO. 


EVA  LLEWELLYN, 

Mother  and  Character  parts. 
London  :  Stoll,  British  Actors 
B&C  Barkers,  Samuelson, 
Gaumonts, 

Aunt  Martha  in  "A  Ray  of  Sun¬ 
shine,’'  Hagar  In  “St.  Elmo,” 
Miss  Fairley  in  “MordEmTy” 
(Welsh  Pearson),  “Mrs.  Willow 
Weeps.” Walter  Forde  Comedies. 
39.  GLOUCESTER  UDNS..W.2. 
’Phone  494  Padd..  and  at  the 
Kinema  Club.  Regent  2131. 


ARTHUR  PUSEY. 

At  present  South  Africa 
Starring-  in  “  The  Blue  Lag-oon’’  for  I.V.T.A. 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 


CHARLES  LEVEY 

15,  STOKENCHURCH  STREET, 
FULHAM,  S.W. 6., 

or  KINEMA  CLUB. 


Mr.  DALTON  SOMERS, 

Resting.  Offers  invited. 

Sleepy  Hollow,  Peacehaven,  Sussex. 


CAMERAMEN 


WILFRED  S.  STANFORD. 

Offers  invited.  20  years  experience — Legitimate  and 
Vaudeville  Stages  and  Screen.  Jew,  Character  and 
Foreign  Parts.  Coins:  Playgoei  s’  Club  (Regent  1265 
_ or  Kinema  Club), _ 

F  ~  C  R  E  M  L  I  N  . 

5,  Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club 
To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
-  SUPPLIED 

Fiom  your  own  Photo,  in  best  glossy  style  :  — 
One  position  17/6  per  gross. 

Two  positions  30/-  ,, 

Apply— 

PICTURES,  LTD.,  88,  Long  Acre,  W.C.2. 


ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN- 
SCIENTIFIC  ::  OUTFIT. 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  Street,  W.C.2. 

’Phone — Reg-ent  2131. 


GEOFFREY  BARKAS 

IDEAL  FILMS,  LTD. 

Address — IDEAL  STUDIOS, 

Boreham  Wood,  Herts. 

L.  G.  EGROT 

EXPERT  CAMERAMAN. 

“  The  Better  ’Ole  ’’  etc.,  “  Her  Benny  ”  etc., 
“  Land  of  My  Fathers.’’ 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W. 2. 

’Phone:  Streatham  3085 . 


HORACE  M.  WHEDDON, 

IDEAL  FILMS,  LTD. 

Private  Address  :  - 

“  LYNTON  HOUSE,” 

BOREHAM  WOOD,  HERTS. 


WALTER  BLAKELEY 

Cameraman. 

Direction  F.  L.  GRANVILLE. 
Starring  Peggy  Hyland. 


DIRECTORS  .  . .  . 

EDWARD  D.  ROBERTS 

Now  producing- — • 

“The  Cause  of  all  the  Trouble.” 

All  corns  : 

The  Albanian  Film  Co.,  4,  Victoria  Street, 
St.  Albans. 


RALPH  C.  WELLS 

Assistant  Director  to  Fred  Le  Roy  Granville, 
at  present  in  Tripoli  directing 

“THE  PRICE  OF  SILENCE” 
(original  Story  by  Ralph  C.  Wells) 


BERT  WYNNE, 

Director, 

SEAL  FILM  COMPANY. 


GEOFFREY  H.  MALINS, 

O.B.E. 

Open  to  Engagement. 

Producer.  Latest  Productions  : 

“The  Greater  Love,”  “Patricia  Brent  Spinster,  ’ 
“Settled  in  Full.”  ”  All  the  Winners  Watching 
Eyes,”  “Bluff,”  “The  Recoil,’  “The  Scourge,  etc. 

All  corns.  :  Kinema  Club,  9,  Gt.  Newport  St.,  W.C. 2. 
Regent  2131. 

FOREIGN  OFFERS  INVITED. 


3 


THE  MOTION  PICTURE  STUDIO 


WHO’S  WHERE. 

Several  directors  nave  explained  to  us 
the  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 

ATWOOD,  ALBAN :  25,  Stanley  Crescent 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S  W.  11.  Battersea  21. 

BOSCO,  WALLACE,  97,  Kingsway,  East 
Sheen,  S.W.  14. 

BROOK,  CLIVE:  “The  Cosy  Corner, ’v’ 
opposite  Hampton  Court  Pa'ace. 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS.  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 

Road,  Ealing,  W.5. 

ESMOND,  ANNIE :  43,  Richmond  Road, 
Westbourne  Grove,  W.2.  Park  854. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London.  S.W. 9. 

FANE,  DOROTHY  :  12 a.  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 

GRACE,  ADELAIDE,  103,  Morshead  Man¬ 
sions,  Maida  Vale,  W.9. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131, 

LE  BRETON,  FLORA  :  care  of  Kinema 
Club,  9,  Gt.  Newport  St.  Reg.  2131. 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns., 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  4,  Northwick 
Terrace,  St.  John’s  Wood  Road.  N.W.  8. 

NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell,  S.E.5. 

RAYNER,  MINNIE  :  King-water  Cottage, 
Churca  Walk,  Thames  Ditton. 

ROME,  STEWART  :  10,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  all  corns.  Kinema  Club’ 
Regent  2123. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL  :  62,  Upper 

Richmond  Road,  East  Putney,  S.W.  15, 
or  Kinema  Club. 

STEERMAN  A.  HARDING  :  56  Portland 
Road,  W.i  1.  Park  2529. 

STERROLD,  GERTRUDE:  14,  Queen’s 
Road,  St.  John’s  Wood,  N.W. 8. 

TREE.  MADGE  :  15,  Lancaster  Court,  New- 
man  St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Road 
Barnes,  S.W.  13.  Putney  1945. 

WALCOTT,  ARTHUR:  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  2131. 
Two  Lines,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a  year,  prepaid. 

Extra  lines,  is.  per  insertion. 


June  17,  1922 


SCENARISTS^.  .  . 

GERALD  DE  BEAUREPAIRE, 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 

K  I N  CHEN  WOOD, 

Scenarist, 

Late  Stoll  and  Wm.  Fox  Studios,  Los  Angeles. 
Address  : 

7,  WYMERING  MANSIONS. 
ELGIN  AVENUE,  MAIDA  VALE,  W 


TO  LET, 

for  long  or  short  periods, 
fully  equipped  STUDIO  and 
WORKS,  within  half-an-hour 
of  West  End.  For  fullest  par¬ 
ticulars  and  terms  apply : 

J.  LLOYD , 

9,  South  Molton  St.,  W.I. 


MAURICE  P. 
THOMSON 


FROGGY 

in 

“FROGGY’S  LITTLE  BROTHER” 


’Phone:  Mayfair  1011. 


FOR  SALE — Williamson  Camera  and 
Tripod,  Brand  New,  330-ft.  Film 
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Weston-Super-Mare. 


Produced  by  A.  E.  Coleby  (Stoll). 

Daily  Mail:  —  “One  of  the 
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All  communications  : — 

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ARE 

YOU 

OPEN 

FOR 

OFFERS? 

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you’d  better  tell 
directors  and 
studio  managers 
so.  And  the 
best  way  is  hy 
advertising  in 

THE  M.P. 
STUDIO 


UALITY 


Choice  assort¬ 
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<r&ciJLYrRD 


4 


June  17,  1922 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93,  Long  Acre, 
London,  W.C.2, 


Vol.  2  No.  54 


Telegrams— 
Southernwood, 
Rand,  London 

Telephone — 
Gerrard  9870. 


June  17,  1922 


Excuse  for  Bad  Work . 

CO  far  as  It  is  possible,  let  us  this 
^  week  enquire  into  the  causes  of  the 
present  adverse  conditions  in  the  British 
producing  field.  In  the  main  these  are 
due  to  lack  of  finance  ;  but  we  are  not 
prepared  to  admit  that  this  should  always 
be  the  excuse  for  bad  workmanship.  In 
proof  of  the  opposite  of  this  we  have,  on 
the  one  hand,  those  certain  Stoll  pro¬ 
ductions  on  which  thousands  of  pounds 
were  spent  but  which  only  resulted  in 
films  that  are  a  credit  to  neither  Cnckle- 
wood  nor  British  exhibitors  ;  and  on  the 
other  hand,  the  best  British  film  this  year 
— “  The  Wonderful  Story  ” — on  winch 
the  expenditure  is  down  to  an  astonishing 
minimum.  So  it  can  be  safely  assumed 
that  the  absence  or  presence  of  a  large 
banking  account  at  the  back  of  a  pro¬ 
duction  does  not  necessarily  mean  artistic 
(and  commercial)  success.  But  it  can 
be  accepted  as  a  vital  principle  that 
success  often  depends  on  the  way  the 

money — much  or  little — is  spent. 

*  *  * 

The  Shadow  of  the  Past. 
r  I  ’HIS  fact,  then,  reveals  the  fallacy 
A  of  looking  for  success  in  a  sudden 
acquisition  of  capital.  The  cause  of  the 
present  conditions  is  more  deep-rooted. 
What  is  happening  is  that,  so  far  as  British 
productions  are  concerned,  the  sins  of 
the  fathers  are  being  visited  upon  the 
children.  That  is  to  say,  the  present  is 
being  blighted  by  the  shadow  of  the  past. 
In  the  past,  when  money  has  been  in¬ 
vested  in  British  films,  it  has  either  been 
mis-spent  or  the  results  have  not  justified 
the  investment.  It  is  of  no  use  living 
contentedly  in  a  fool’s  paradise  ;  the 
bitter  truth  has  to  be  admitted — British 
films  (on  the  average)  have  not  come 
up  to  the  standard  of  photoplay  quality 
to  which  the  public  has  accustomed  itself. 
This  is  at  the  root  of.  the  difficulty.  And 
no  amount  of  talk  about  interesting 
financiers  in  the  business  or  of  pursuading 
the  Chancellor  of  the  Exchequer  to 
relieve  the  industry  by  a  subsidy,  will 
get  over  the  fundamental  cause  of  the 
trouble.  It  can  be  safely  assumed  that 
financiers  are  not  fools  enough  to  buy 
a  pig  in  a  poke.  They  will  want  to  know 
of  what  the  industry  is  capable  before 
they  invest. 

*  *  * 

Public  Patriotism. 

nr  HERE  is  one  road  only  to  success 
— it  is  the  road  called  Merit. 
We  have  to  make  good  pictures.  If  we 
do  not,  and  America  does,  the  Public  will 


prefer  American  films  to  British.  If 
Germany  imports  into  this  country  films 
that  are  better  than  either  American  or 
British,  the  Public  will  prefer  German  to 
American  or  British  films.  Do  not  be 
misled  by  imagining  that  the  Public 
is  patriotic  to  such  an  advanced  stage 
that  it  will  sit  through  a  bad  British 
picture  rather  than  a  good  German  one. 
It  won’t  ! 

*  *  * 

Give  the  Director  a  Chance. 

'"'PHOSE  who  are  only  capable  of 
A  thinking  superficially  will  make 
reply  that  our  native  products  are  corn¬ 
el  You  can  rely  on  it  that 
brain  is  always  superior 
to  brawn :  mind  will 
always  influence  matter. 

Your  mental  outlook 
will  colour  your  physical 
circumstances.  And  you 
can  easily  persuade 
yourself  that  white  is 
grey  and  grey  is  black. 

Also  that  your  circum¬ 
stances  are  worse  than 
they  really  are. 

If  Your  wisest  czurse  to¬ 
day  is  to  take  the  bright 
view  of  the  clouds  — 
there  is  a  bright  side  : 
the  side  the  sun  shines  on. 


paratively  poor  in  quality  because  there 
has  not  been  the  money  available.  That 
argument  cannot  hold  water  in  the  face  of 
“  The  Wonderful  Story.”  What  we  need 
to  make  good  pictures  is  not  money  but 
men.  There  are  in  this  country  film 
directors  who  are  capable  of  making 
photoplays  equal  to  the  average  American, 
if  they  are  allowed  to.  But  in  the  majority 
of  cases  producing  concerns  have  got 
into  the  wrong  hands — into  the  hands 
of  men  with  an  inartistic  sense  and  no 
capacity  for  keen  business  perception. 
These  people  tie  the  hands  of  our  directors  ; 
hold  them  fast  to  a  time  schedule  and  a 
money  schedule  ;  veto  what  is  artistic  ; 
ban  what  is  of  rich  entertainment  value  ; 
and  generally  destroy  all  the  good  work 
that  our  directors  put  in. 


An  Excellent  Scheme. 

CYUR  parent-journal,  the  Kinema- 
tograph  Weekly ,  has  evolved  a 
scheme  which  it  believes  will  assist  the 
British  producing  industry.  This,  in  out¬ 
line,  is  to  endeavour  to  persuade  the 
Chancellor  to  give  a  twenty-five  per  cent, 
rebate  on  the  Entertainment  tax  to  those 
exhibitors  who  show  a  regular  program 
of  which  not  less  than  twenty-five  per 
cent,  is  made  up  of  British  feature  films. 
The  success  of  this  scheme  depends  as 
much  on  the  quality  of  British  films  as 
on  the  j^atriotism  and  common-sense  of 
the  Chancellor.  For  it  is  obvious  that 
if  the  exhibitors  are  going  to  be  persuaded 
to  take  twenty-six  British  films  each  year, 
they  will  have  to  be  convinced  that  those 
films  are  up  to  the  standard  set  by  the 
other  items  in  their  program.  There 
must  be  no  mistake  made  on  this  point  : 
the  success  of  this  excellent  scheme  rests 
on  the  enhanced  quality  of  British  films. 
And  at  the  moment  there  are  not  twenty- 
six  new  British  films  of  the  right  quality 
available. 


Saving  Ourselves. 

W  HEN  this  scheme  was  first  outlined 
to  the  Executive  Committee  of  the 
Kinema  Club,  there  was  an  enthusiastic 
reception  accorded  it.  This  has  been 
repeated  by  the  whole  of  the  producing 
industry.  But  those  who  are  enthusias¬ 
tically  approving  the  scheme  must  not 
overlook  the  fact  that  the  success  of  the 
scheme  does  not  depend  on  the  Chancellor 
or  on  the  exhibitor,  but  on  themselves. 
Even  the  bait  of  a  twenty-five  per  cent, 
rebate  on  the  Entertainment  Tax  will  not 
be  sufficient  to  entice  the  exhibitors  to 
freeze  off  their  patrons  by  showing  poor 
films  that  are  British  rather  than  good 
ones  that  are  American.  The  scheme 
that  the  Kine  has  so  brilliantly  evolved 
can  only  succeed  if  those  who  are  to  gain 
by  its  success — the  producing  industry — 
support  it  by  making  films  no  worse  than, 
but  at  least  as  good  as,  America  can. 
When  the  exhibitor  can  get  twenty-six 
British  films  that  can  be  compared  with 
|  the  average  American  productions,  then 
1  he  will  be  willing  to  agree  to  the  new 
scheme.  And  when  the  exhibitor  agrees, 
then  the  Chancellor  will  be  forced  to 
grant  the  concession.  So  that  it  is 
obvious  it  all  depends  on  the  British 
producing  industry  concentrating  its 
powers  on  the  production  of  films  that 
are  of  much  better  quality  than  the  average 
British  film  of  the  past. 


5 


THE  MOTION  PICTURE  STUDIO 


June  17,  1922 


THROUGH  FRENCH  EYES 

by  E.  FLETCHER  CLAYTON 


CONCLUDING  ARTICLE 

One  of  the  difficulties  which  the  British 
artiste  is  very  likely  to  experience  in  France 
L  that  which  is  demanded  by  every  French 
film  director  :  the  setting  aside  by  the  artiste 
of  every  atom  of  self-consciousness  and ' 

letting-go  ”  himself.  This  is  more  difficult 
fcr  a  British  artiste  to  do  than  sometimes 
he  may  be  aware.  lie  thinks  he  is  “  letting- 
go”  of  himself,  but  his  exhibition  is  mild 
beside  that  of  the  artiste  of  Latin  mood  and 
temperament.  And  does  not  that  difference 
show  up  on  the  screen  in  an  Anglo-French 
fiim? 

It  is  not  wild  abandon,  nor  the  Italian 
“windmill”  mannerism,  which  is  required  of 
anistes  by  French  directors,  but  that  they 
shall  be  like  pieces  of  “animated  clay,”  so 
to  speak,  ready  to  be  moulded  to  any  require¬ 
ment  by  the  latter’s  hands.  It  is  demanded, 
for  instance,  that  two  artistes  shall  forget 
their  identity,  and,  it  it  be  a  love  scene,  that 
they  shall  not  merely  touch  each  other  like 
birds  billing  in  the  spring-time,  but  that 
they  shall  give  an  exchange  of  regard  and 
an  embrace  .-,0  passionate  that,  when  it  is 
presented  upon  the  screen,  it  shall  send  a 
thrill  right  through  the  house.  I  have  never, 
personally,  seen  such  a  thing  in  a  British 
film  :  it  really  seems  to  need  the  Latin  tem¬ 
perament  in  order  to  be  able  to  do  it.  (Be¬ 
sides  which,  the  British  audience  is  generally 
c-nly  thrilled  by  a  railway  accident,  a  hand- 
to-hand  fight,  or  a  murder.) 

The  remark  was  made  concerning  a  much- 
adinired  British  film  recently  shown  in  Paris 
that  the  artistes  —  and  especially  the 
“juvenile  lead,”  the  young  lover  of  the 
story — were  all  afraid  of  the  star  artiste 
because  she  has  a  title.  All  the  artistes 
appeared  to  circle  around  like  diplomats  at 
a  Royal  reception.  Not  one  of  them  (not 
even  the  star)  “let  go”  thoroughly  and  forgot 
that  they  were  “Miss  Smith”  or  “Mr. 
Frown. 

This  is  exactly  how  the  average  British 
artiste  appears  in  French  film  productions— 
that  is,  in  the  rather  rare  instances  of  his,  or 
her,  appearance.  The  British  artiste, 
amongst  the  others,  is  with  them  without 
being  one  of  them.  The  difference  is  tem¬ 
peramental,  and,  unfortunately,  shows  up 
only  too  plainly  upon  the  screen.  This,  in 
some  considerable  measure,  may  account  for 
1  he  lack  of  demand  for  British  screen  artistes 
to  play  in  French  films  and  in  those  of 
other  Latin  countries. 

The  standard  by  which  English  character 
is  generally  judged  in  the  French  kinema 
world  (if  not,  indeed,  elsewhere)  is  that 
which  has,  unfortunately,  been  represented  in 
tne  film  versions  of  Victorian  novels.  Con¬ 
sequently  it  is  described  as  being  dull,  and 
one  cannot  wonder  at  this  misconception. 

Candidly  speaking,  the  British  artiste’s 
chance  abroad  lies  rather  in  Germany  or  in 
Austria  than  in  France;  but  in  any  case  the 
artiste  must  be  well  on  the  road  in  the  pro¬ 
fession.  Otherwise  the  probability  of  en¬ 
gagement  is  rather  remote.  Some  of  the 
Berlin  or  Viennese  producing  companies 
would  probably  welcome  a  British  star 
artiste  in  the  belief  that  by  this  means  they 
might  produce  a  film  which  would  “get 
over”  in  England.  The  French  directors  are 
indifferent.  The  avowed  object  of  French 
kinematography  is  to  retrieve  a  lost  position, 
and,  very  naturally,  this  implies  a  certain 
conservatism  which  is  not  to  be  wondered  at. 

The  few  British  artistes  having  had  experi¬ 
ence  with  French  directors  in  England  will 
be  able  to  bear  me  out  in  what  I  say  about 
the  temperamental  differences  which  arise. 
There  have  been  a  few  exceptions,  such  as 
when  British  artistes  were  employed  in 


“The  Call  of  the  Blood,”  “Miarka,”  and 
“  Phroso  ”  ;  but  then  Louis  Mercanton,  the 
director,  speaks  English  perfectly  and  under¬ 
stands  the  British  temperament.  So  do  Rene 
Piaissety  and  a  few  other.* 

The  recent  movements  of  French  producing 
companies  have  been  towards  countries 
where  the  cost  of  production  might  be  re¬ 
duced.  Naturally  enough,  with  the  rate  of 
exchange,  they  never  dream  of  coming  to 
England,  unless^  in  very  rare  instances,  in 
search  of  special  scenes,  as  in  the  case  of 
“Lord  Arthur  Savile’s  Crime.”  Some  com¬ 
panies  have  gone  to  Berlin  or  Vienna,  for 
instance,  because  the  rate  of  exchange  makes 
a  considerable  difference  in  the  cost  of  pro¬ 
duction,  even  though  the  artistes  have  to  be 
housed.  A  few  have  gone  to  Italy,  though 
the  advantages  are  hot  so  great  as  might  be 
supposed.  Others  have  gone  to  Algeria  and 
Morocco,  and  some  to  the  Spanish  frontier. 
In  all  these  various  wandering  troupes,  how¬ 
ever,  it  is  rare  that  employment  is  found  for 
a  British  artiste. 

Without  doubt,  one  of  the  most  serious 
barriers  to  hand-in-hand  working  between 
British  and  French  directors  and  artistes  is 
the  barrier  which  the  non-understanding  of 
each  other’s  language  creates.  The  fact  that 
these  people  cannot  make  themselves  under¬ 
stood  to  each  other  is  really  a  great 
hindrance  to  Anglo-French  kinema  relation¬ 
ship.  Practically  speaking,  here  are  two 
sets  of  artistic  workers  ready  to  try  the 
possibility  of  co-operation,  but  who  are 
forced  simply  to  rest  mutely  regarding  each 
other,  the  friendly  spirit  checked  and  enter¬ 
prise  chilled. 

Mere  translation  of  language  is  useless,  for 
even  if  the  bald  words  be  understood,  their 
true  meaning  frequently  miscarries.  How,  in 
the  habitual  and  complicated  language  of 
the  artistic  world,  is  the  British  director  to 
make  the  French  artiste  understand  what  is 
in  that  soul  of  his,  what  effect  he  is  striving 
so  ardently  to  convey,  and  how,  in  his 
opinion,  it  ought  to  be  obtained?  One  can¬ 
not  suppose  that  an  artiste  can  be  directed 
by  signs.  -And  vice  versa. 

One  cannot  get  mind-to-mind  contact  with¬ 
out  a  perfect  understanding  of  the  means  of 
communication.  If  neittier  person  knows  the 
other’s  language,  a  real  understanding 
between  the  parties  is  impossible.  Remem¬ 
ber,  too,  that  this  comes  on  the  top  of  tem¬ 
peramental  difference  between  the  Anglo- 
Saxon  and  the  Latin  races !  To  talk  of 
interpreters  as  a  means  of  getting  over  the 
language  difficulties  is,  in  this  case,  non¬ 
sense.  It  may  be  done  commercially,  but 
here,  in  the  making  of  films  and  the  directing 
of  artistes,  the  meeting-ground  is  totally 
different. 

This  matter  of  language  is  serious,  because 
so  many  artistes  ha-'e  crossed  over,  both  from 
England  and  trom  Fiance,  in  search  of  work, 
and  they  have  been  bitterly  disappointed  at 
what  was,  to  them,  a  cold  reception.  The 
tiuth  is  not  that  the  reception  is  so  cold, 
but  that  they  are  chilled  by  their  inability 
to  understand.  The  notion,  largely  false, 
that  kinema  acting  is  for  the  most  part 
pantomime,  will  not  provide  a  means  of 
escape  from  the  language  difficulty.  There 
is  nothing,  especially  when  one  is  alone, 
which  is  calculated  to  make  one  feel  -one’s 
impotence  so  much  as  an  utter  inability 
either  to  understand  or  to  make  oneself 
understood.  So  that  the  British  (or  French) 
artiste  who,  though  knowing  no  language 
but  his  own,  thinks  of  going  abroad  to  act 
to  impress  himself  and  his  art  upon  the  film 
directors  of  other  countries  is  like  a  cham¬ 
pagne  cork  in  the  Atlantic.  The  situation  is 
utterly  untenable. 

Continued  in  next  column 


DISCOVERING 

TALENT 

by  F.  RUPERT  CREW 

HAV  ING  read  Arthur  McArthur’s  com¬ 
ments  upon  my  article,  “  Nothing 
Doing,”  whidb  recently  appeared  in  this 
journal,  I  feel  inclined  to-  believe  that  my 
critic  has  somewhat  misinterpreted  my 
observations.  In  the  first  place,  he  does 
not  agree  with  my  assertion  that  it  is 
practically  an  impossibility  to  interest 
directors  and  scenario-editors  in  original 
work,  though,  later  on  in  his  article,  he 
does  admit  the  existence  of  those  gentle¬ 
men  who  do  not  want  stories  ! 

Comedies  of  the  short  type  are  easier  to 
place  than  long  dramas.  Perhaps  that  is 
one  -6-f  his  reasons  for  disagreeing  with 
me. 

Mr.  MacArthur  is  also-  wrong  in  think¬ 
ing  that  I  believe  established  writers  o-f 
fiction  the  only  ones  capable-  of  turning  out 
suitable  screen  material.  However,  I  did 
assert  and  venture  to-  repeat,  that  one 
must  be  gifted  with  literary  talent  to  turn 
-out  a  good  story — even  in  bare  plot  form. 
Literary  ability  does  not  wholly  concern 
itself  with  “fine-  phrases.”  Sound  plot 
construction  and  characterisation  call  for 
something  more-  than  a  mere  acquired 
mechanical  knack.  It  is  the  handling  of 
a  plot  or  theme  which  counts.  Neither 
should  treatment  be  confused  with  action. 

I  had  no  conscious  intention  in  my  pre¬ 
vious  article  for  infering  “that  scenario 
editors  should  turn  down  all  efforts  save 
those  of  experienced  fiction-writers.”  I  m 
not  unwilling  to>  give  myself  a  chance  ! 

I  merely  tried  to  suggest  that  those 
who  cannot,  and  never  will  be  able  to, 
write  screen  stories  are  only  blocking  the 
way  for  those  writers  of  unrecognised 
talent  who  honestly  deserve  a.  hearing.  Of 
course,  it  is  impossible-  to-  “choke  off  ” 
these  individuals  who  are  only  wasting 
their  time  abd  others’,  but  the  fact  remains 
that  many  really  good  stories  do  go  ;n 
with  hundreds  of  really  bad  stories. 

It  is  only  natural,  therefore,  to  suppose 
that  many  excellent  scripts  are-  returned 
to  their  writers  unread — for  the  simple 
reason  that  a  staff  of  readers  cost  money. 
A  well-known  director  admitted  this  fact 
to  me  only  the  other  day.  Quite  frankly 
he  told  me  that  his  firm  simply  could  not 
deal  with  the  hundreds  of  stories  which 
it  receives  by  every  post  from  all  sorts  and 
conditions  of  people. 

Despite  a  certain  vein  of  pessimism  in  this 
article,  the  possibility  of  a  rapprochement 
between  the  producing  units  of  England  and 
France  is  not  impossible  ;  but  before  it  could 
be  very  effective  there  should  be  in  existence 
a  real  commercial  interchange.  Every  barrier 
is  not  unsurmountable,  and  often  what  one 
cannot  climb  over  one  can  break  through. 

There  are,  however,  certain  things  which 
make  the  French  kinema-worker  (be  he  film 
dealer,  director,  or  artiste)  drop  his  already 
outstretched  arms  of  welcome,  and  one  of 
these  is  the  insular  British  character.  Too 
long  (even  since  the  birth  of  kinemato- 
giaphy!)  has  the  British  market  ignored, 
and  even  spurned,  French  film  productions  ; 
and  too  long  has  been  the  neglect  to  study 
the  means  by  which  one  could  get  into  work¬ 
ing  contact.  There  is  certainly  a  welcome 
awaiting  in  French  film  business  circles ; 
but  it  is  for  those  in  authority  in  Britain — 
those  who  represent  the  film  industry — to 
make  the  advance  move. 


6 


June  17,  1922 


THE  MOTION  PICTURE  STUDIO 


IntimaJe  Studio  Qossip 


,Qn  Friday  I  saw  Sidney  Jay  off 
to  America — ffa  sailed!  by  the 
Mauretania  for  New  York  on 
important  business  for  Graham  Wilcox 
,  Productions.  He  explained  that  he 
would  only  be  on  the  other  side  a  few 
days  and  expects  to  be  back  at  181  by 
July  3.  His  address  in  New  York 
will  be  Hotel  Astoria.  During'  the 
four  days  prior  to  his  departure  he 
negotiated  engagements  for  several 
universal  stars.  Business  will  be 
carried  on  as  usual  in  his  absence. 

J  now  learn  from  our  Neiw  York  repre¬ 
sentative  that  thei  American  com¬ 
pany,  Universal,  is  in  England  to 
make  “Ivanhoe.”  Edward  Laemmle  is 
to  direct  the  film  and  Harry  Myers  will 
play  the  lead.  “  Ivanhoe,”  it  may  be 
recalled,  wias  once  filmed  by  Herbert 
Bren  on. 

Maurice  Elvey,  who .  is  an  ardent 
admirer  of  Cicero,  informs  me  that 
in  “  The  Select  Letter's  ”  of  that 
ancient  philosopher  he  has  come  across 
an.  account  of  an  actor  named  FEsopus., 
who  nourished  on  the  Roman  stage 
some  fifty  years  before  the  birth  of 
Christ,  and  became  so'  famous  and 
prosperous,  that  he  died  worth  a 
fortune  of  nearly  ^200,000.  Fancy 
paying  income  tax  on  that  ! 

A.  new  series  of  international  pictures 
financed  by,  and  produced  for,  the 
W.  and  F.  Film  Service,  Limited,  is 
the  subject  of  an  important  announce¬ 
ment  by  this  concern,  which  has  now 
entered!  the  producing  field.  Leading 
British  and  French  artistes  will  appear 
in  these  films,  which  will  be  made  in 
Paris,  with  exteriors  in  England, 
France  and  Italy.  The  stories,  which 
will  be  selected  personally  by  the 
directors  of  W.  and  F..  will  all  be 
modern  dramas,  but  in  the  choice1  of 
subjects,  an  effort  will  be  made  to 
break  entirely  new  ground,  as  was 
done  in  the  first  of  the  series,  “  Lord  i 
Arthur  Savilei’s  Crime.” 

Tom  Bentley  is  the  owner  of  a 
directory  of  British  locations,  com¬ 
piled  by  himself,  the:  like  of  which  I 
have  never  before  seen.  A  typical 
entry  in  Mr.  Bentley’s  immense  index 
runs  something  like  this  : — “  Series 
‘  T,  ’ — Windmills.  P'oppleton  Old 
Mill  on  Lord  Tickleberry’s  estate, 
Plumshire,  eighty-four  miles  from 
Ivondon  on  Mudlford  branch  line.  Key 
with  agent  in  the  High  Street.  Turn 


left  from  station  over  footbridge, 
second  lane  past  church  (note  progress 
of  restoration  work).  Light  (June  2) 
from  7  a.  m.  to  6  p.m. ,  and  square  on 
at  12.30  (Summer  Time).  Inn  :  The 
G eor ge  (Mrs.  Tarbol d ) .  ”  Th ere  are 
thousands  of  , entries  of  this  description 
covering  every  kind  of  scenic  and  land¬ 
scape  object  all  over  the  British  Isles, 
from  toll-bars  to  Henry  VIII.  trees. 

Pauline  Johnson  tells  me  that  she:  is 
finding;  the  alleged  simple  life  not 
living  up  to  itsi  adjective.  She  is 
“  down  on  the  farm,”  playing-  the 
farmer’s  daughter  in  “A  Sailor 


TRADE  SHOW 
GUIDE 

J^RTLSTIC  Films  has  now  completed 
its  third  five-reel  comedy,  which  is 
entitled, 

“The  Head  of  the  Family.” 

It  was  adapted  by  Lydia  Hayward  from 
W.  W.  Jacob’s  novel,  “Sailors’  Knots,” 
and  directed  by  Manning  Haynes,  several 
of  the  scenes  being  secured  at  Whitstable. 

Cynthia  Murtagh,  Johnny  Butt  and 
Charles  Ashton  play  the  leading  parts  and 
are  supported  by  Daisy  England,  Bertie 
White  and  George  Grogie. 

Trade  Snow  :  Friday,  June  23,  at  the 
Shaftesbury  Pavilion,  at  2.30  p.m. 

Floward  Gaye,  who  makes  his  first 
appearance  on  the  British  screen  as  Lord 
Byron,  in  the  new  Gaumont  film, 

“A  Prince  of  Lovers,” 
has  had  nearly  four  years’  experience  in 
America  under  the  direction  of  D.  W. 
Griffith  before  coming  to  England  to 
work. 

Captain  Calvert,  who  is  responsible  for 
the  direction,  has  assembled  a  very  strong 
cast,  which  includes  Marjorie  Hume  as 
Lady  Byron,  Mary  Clare  as  Lady  Coraline 
Lamb,  Marjorie  Dayas,  Augusta  Leigh, 
George  Folev  as  Sir  Ralph  Milbanke. 

Wvndham  Guise,  Saba  Raleigh,  Robert 
Buchanan,  Madge  Tree,  Freda  Kaye, 
James  Donatus,  R.  H.  Flignett,  David 
Hawthorne,  E.  Griffin,  George  Hodges, 
Mary  Ault,  Viva  Birkett,  Stephen  Wing, 
Bellinden  Powell  and  Emmeline  Ormsby 
are  also  in  the  cast. 

A.  St.  A.  Browne  and  Basil  Emmot  are 
responsible  for  the  photography. 

Trade  Show  :  On  Thursday,  June  22, 
at  the  New  Gallery  Kinema,  at  11  a.m. 


Tramp,”  and  she  had  a  lively  time 
learning  to  milk  a  cow.  “The  disaster 
awaited  me,”  she  writes,  “when  Susan, 
the  cow,  took  it  into*  her  head  to*  lash 
out  with  her  hind  leg".  I  w!as  knocked 
right  off  my  stool,  drenched  in  milk 
from  thei  pail,  which  also  overturned, 


and  certainly  thought  I  should  never 
comei  out  of  the  experience  alive. 
That,  however,  was  mild  excitement 
compared  with  the  experience  which 
awaited  me  on  the  following  day 
whilst  waiting  for  the  director  toi  call 
me.  I  wandered  into  a  paddock  in 
which  numbers  of  cow's,  were  grazing — 
I  had  walked  half-way  across'  thei  field 
before  I  discovered  there  w;as  ai  bull 
amongst  them.  I  have  heard  that  if 
you,  stand  your  ground  and  stare  hard 
ait  a  bull  he  will  not  attack  you  ;  how¬ 
ever,  I  did  not  wait  toi  put  this  toi  the 
test — I  ran  faster  than  I  have  ever 
done  in  my  life,  and  certainly  flung 
myself  over  the  five-barred  gate  at 
lightning  speed.”  What  a  pity  that 
the  camera  could  not  register  the  look 
of  horror  on  her  face  as  she  heard  the 
thunder  of  that  hull’s  hoofs ! 

0ne  of  the  most  amusing  documents 
which  has  ever  come  intoi  the  hands 
of  Challis,  Sanderson,  who  is  now 
directing  a  series  of  films  for  Master’s 
was  given  him  by  a  situdioi  property 
man  recently.  This  worthy  had 
returned  a  number  of  props  toi  the 
depot  from  which  he  had  obtained 
them,  and  the  manager  of  the 
depot  explained  he  would  have  to 
make:  an  extra,  charge  on  the  hire 
because  some  were  slightly  damaged. 
Two  days  later  the  account  was  handed 
to  Sanderson  for  signature.  In 
explanation  of  the  extra  10  per  cent, 
charge  w'as  the  written  comment — 
“  Fare  ware  aind  tare.” 

An  exhibition  that  is  likely  to.  interest 
thei  profession  was,  opened  by 
E.  Gordon  Craig  at  the  Victoria  and 
Albert  Museum  on  June  3,  and  will 
remain  open,  free  of  admission  toi  the 
public,  until  July  16.  Examples  of 
modern  stage  art,  with  designs  and 
models,  from  countries  including 
Great  Britain,  Germany,  France,  Italy, 
Holland,  America,,  Austria:  and,  Russia, 
range  from  thei  quiet  dignity  of  Gordon 
Craig'  toi  the  delirious  riot  of  some  of 
the  modern,  Russian  artistes.  Under 
the  patriomagei  of  some  of  our  best- 
known  theatrical  leaders,  this  exhibi¬ 
tion  should  be  visited  by  all  who:  have 
the  higher  developments!  of  the  picture 
^  play  at  heart. 

(\aJLJ2[  (bj 


7 


THE  MOTION  PICTURE  STUDIO 


June  17,  1922 


toA&ha.  tA&o  -aAz  cvncl 


■coAcCt  &uU{  -ctAe.  -cioonq 


Robbie  Andrews  is  in  “Little  Miss 
Nobody.” 


C.  Aubrey  Smith  is  to  play  in  the  new 
Graham  Cutts  film. 


Merrick  Milton  has  returned  from  Canary 
Islands. 


Margot  Armstrong  is  playing  in  “Little 
Miss  Nobody.” 

I).  J.  Williams  is  playing  for  Progress  in 
“Little  Miss  Nobody.” 

Peggy  Hyland  is  in  Tripoli,  starring  in 
“The  Price  of  Silence.” 

Colette  Brettel  is  at  Shoreham,  playing 
in  “Little  Miss  Nobody,”  for  Progress. 

Walter  Blakeley  is  touring  on  “The 

Price  of  Silence,”  the  Granville  production. 

Stacey  Gaunt  lias  been  playing  Sir 

Leicester  Deadlock  in  “Bleak  House”  for 
Master. 

Silvano  Balboni  is  one  of  the  two  earner- 
men  engaged  on  Fred  Le  Roy  Granville’s 
“Price  of  Silence.” 

Kinchen  Wood  points  out  that  his  new 
address  is  not  No.  1,  but  No.  7,  Wymering 
Mansions,  Maida  Vale,  W.9. 

Miriam  Murray  has  been  playing  the 

part  of  the  hospital  nurse  in  “The  Road 
to  Heaven,”  at  Master’s  studio. 

Geoffrey  Malins  has  again  left  England 
on  the  World’s  Flight  by  aeroplane,  and 
reached  Athens  on  Sunday.  He  expects  to 
be  absent  about  a  month. 

Walter  G.  Summers  is  responsible  for  the 
scenario  of  “  The  Night  Errant,”  the  next 
George  K.  Arthur  production.  He  is  also 
assisting  with  the  direction. 


Donald  Searle  has  just  finished  his  con¬ 
tracts  with  International  Artists  and  with 
Eeggy  Hyland,  and  is  now  staying  at  23, 
Little  Russell  Street,  W.C.l. 

A.  Harding  Steerman  has  been  engaged 
to  play  for  International  Artists  (Bramlin’s 
booking).  He  lias  been  away  on  location 
at  Minehead  and  returns  to  town  this 
week. 


Marie  Ault,  who  has  finished  her  part 
m  the  ^Gaumont  production  “  A  Prince  of 
Lovers."  and  is  now  playing  Miss  Tod  in 
the  Welsh  Pearson  “  Wee  MacGregor’s 
Sweetheart  ”  film. 


Ilumberstone  Wright,  who  has  been 
directing  productions  for  Raleigh  King,  is 
busy  on  negotiations  for  directing  other 
productions.  In  the  meantime  he  is  con¬ 
sidering  offers  for  acting  as  well  as  direct¬ 
ing. 

Fred  Le  Roy  Granville  is  now  in  Tripoli 
directing  The  Price  of  Silence,”  an  original 
stoiy  by  Ralph  C.  Wells,  who  is  assisting 
Granville  in  the  production.  Peggy  Hyland 

«  1k'  the  star  and  Walter  Blakley  and 

Balboni  the  camera-men. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 


David  Hawthorne  is  playing  in  “Rob 
Roy  ”  for  Gaumont. 

Will  Kellino  has  now  started  on  “Rob 
Roy  ”  at  Aberdeen. 

Booth  Conway  has  finished  playing  in  the 
Master  film,  “Jane  Shore.” 

II.  B.  Parkinson  lias  finished  directing 
“Bleak  House”  for  Masters. 

Betty  Doyle  appeared  in  “Bleak  House” 
in  support  of  Sybil  Thorndike. 

Cliallis  Sanderson  has  completed  “The 
Merchant  of  Venice  ”  for  Masters. 


Artistes  and  others  who  desire  to  have  their 
movements  recorded  in  this  feature,  can  obtain 
a  supply  of  postcards  for  this  purpose,  free 
of  charge,  on  application  to  this  office. 


Alec  Hunter  is  now  in  Scotland  playing  in 
the  Gaumont  version  of  “Rob  Roy.” 

Sybil  Thorndike  was  supported  by  Ivan 
Berlyn  in  “The  Merchant  of  Venice.” 

Harry  Worth  has  finished  work  on  “Bleak 
House,”  a  one-reel  feature,  for  Masters. 

Edith  Bishop  has  taken  over  Madge 
Stuart’s  part  in  the  new  Club  production. 

Wallace  Bosco  has  left  London  for  Scot¬ 
land  to  play  in  the  Gaumont  film  “Rob 
Roy.” 

Walter  West  has  started  on  “The  White 
Hope,”  which  is  being  made  at  the  Princess 
studio. 

Maurice  Tourneur  is  shooting  some  of  the 
exteriors  for  “The  Christian  ”  in  the  Isle 
of  Man. 

Madge  Tree  appeared  in  the  one-reel  ver¬ 
sion  of  “Bleak  House,”  which  has  now  been 
completed. 

Flora  Le  Breton  has  signed  to  play  lead 
opposite  Carpentier  in  the  next  Blackton 
production. 

Graham  Cutts  is  casting  for  his  next  pro¬ 
duction,  which  is  to  be  made  at  the 
Alliance  Studio. 

Cliallis  Sanderson  is  directing  the  series 
of  one-reel  versions  of  George  R.  Sims’ 
poems  for  Masters. 

Stewart  Rome  and  Violet  Hopson  play  the 
leading  roles  in  the  new  Walter  West  pro¬ 
duction,  “The  White  Hope.” 

Edwin  J.  Collis  directed  Sybil  Thorndike 
in  “Jane  Shore,”  and  is  now  directing 
“Handsome  Jack  ”  for  Masters. 

Walter  West  is  now  superintending  the 
cutting  and  editing  of  “  Son  of  Kissing 
Cun.” 

Mdlle.  Valia  left  London  last  week  for 
Tripoli,  where  she  will  play  under  the  direc¬ 
tion  of  Fred  Le  Roy  Granville  in  “The  Price 
of  Silence.” 

Gladys  Jennings,  who  has  been  selected  to 
play  the  leading  part  of  Helen  MacDonald 
in  Gaumont’ s  “Rob  Roy,”  left  for  Scotland 
last  Monday. 

Victor  McLaglen,  who  for  the  past  two 
and  a  half  months  lias  been  playing  the 
title  role  in  “A  Sailor  Tramp  ”  for  Welsh 
Pearson,  will  appear  in  another  film  for  the 
same  company  so  soon  as  the  present  one 
is  finished. 


Douglas  Payne  is  playing  in  the  Club 
Production. 

Cyril  Percival  has  joined  the  cast  of  the 
Kinema  Club  Production. 

Sydney  Paxton  is  playing  in  “The  Night 
Errant  ”  for  G.  K.  Arthur  Productions. 

G.  K.  Arthur  has  started  on  a  new  two- 
reel  comedy  entitled  “The  Night  Errant.” 

Sundae  Wilsliun  is  playing  in  the  nsw 
Adelqui  Millar  production,  “Pages  of  Life.” 

Edward  R.  Gordon  is  directing  “The 
Night  Errant  ”  for  G.  K.  Arthur  Produc¬ 
tions. 

Jack  Raymond  has  been  provided  with 
a  part  in  “The  Crimson  Circle  ”  (Club  Pro¬ 
duction). 

Irene  Tripod  has  been  cast  for  a  part  in 
the  new  G.  K.  Arthur  comedy  entitled  “The 
Night  Errant.” 

Martin  Walker  is  playing  juvenile  lead 
in  “A  Bill  of  Divorcement”  for  Ideal 
(Zeitlin’s  booking). 

Gertrude  Steroll  is  playing  for  Adelqui 
Millar’s  Production  in  “Pages  of  Life  ” 
(Zeitlin’s  booking). 

Donald  Lush,  late  studio  manager  of  the 
Princess  Studio  at  Kew,  is  now  associated 
with  the  Seal  Films. 

Ward  McAllister  has  been  engaged  to  play 
lead  in  “Handsome  Jack,”  which  Edwin  J. 
Collins  is  directing  for  Masters. 

Bertram  Burleigh  has  been  engaged  for  a 
part  in  “  The  Crimson  Circle  ”  (Club  Pro¬ 
duction). 

Bert  Wynne  is  not  directing  for  Masters. 
His  whole  time  is  occupied  with  Seal  Film 
Productions. 

Jack  Roberts  has  been  engaged  by 
Zeitlin’s  Agency  to  play  juvenile  lead  in 
“Pages  of  Life  ”  for  Adelqui  Millar  Pro¬ 
ductions. 

Somers  Vellamy  (late  manager.  Prince  of 
Wales’  Picture  ITouse,  Liverpool)  has  been 
booked  by  Jay’s  Agency  to  play  Major  Domo 
in  “Dick  Turpin’s  Ride  to  York  ”  for  Stoll. 

Maitt  and  Myers,  who  are  now  arranging 
kinema,  variety  and  theatrical  engagements, 
state  they  have  several  big  things  in  view 
and  wish  artistes  to  keep  in  touch  with 
them. 

Leonard  Tremaine,  after  twelve  years’ 
experience  in  production,  is  now  running  his 
own  enterprises,  under  the  title  of  T.  and 
V.  Productions,  the  second  of  which, 
“  Cranby  Pearls,”  is  now  nearing  comple¬ 
tion  at  the  B.  and  C.  studios. 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 
“THE  YELLOW  CLAW," 

“THE  NIGHT  HAWK,” 

“  M'LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.  1, 

’Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  2131. 


8 


June  17,  1922 


THE  MOTION  PICTURE  STUDIO 


FROM  THE  CRITIC’S  CHAIR 

E.  A.  Baughan  Lectures  the  Profession 


YOUR  CORNER 

LETTERS  TO  THE  EDITOR. 

TACKLING  PROBLEMS. 

May  I  take  this  opportunity  of  congratu¬ 
lating  you  upon- your  paper,  which  seems  to 
be  tackling  a  multitude  of  problems  in  a 
very  creditable  and  interesting  manner. — 
Cecil  M.  Hepworth.  . 

JUDGING  THE  JUDGES. 

While,  as  champion  of  the  cause  of  the 
screen-actor,  you  will  be  interested  to  hear 
that  Cassell  and  Co.  is  offering  valuable 
prizes  for  the  best  filmable  story,  you  will  be 
amazed  to  know  that  the  two  foremost  judges 
are  Oscar  Asohe  and  Matheson  Lang,  two 
eminent  stage-actors. 

As  far  as  I  know  the  former  has  never 
“  taken  the  floor  ”  of  a  studio,  and  so  not 
appeared  on  the  screen ;  the  latter  succeeded 
in  brilliantly  enacting  for  the  screen  the 
character  he  had  created  in  his  own 
theatre  on  the  stage  in  “  Carnival.”  But 
one  success,  however  brilliant,  does  not 
qualify  a  man  to  adjudicate  screen  stories. 

Both  these  eminent  stage-actors  are  far  too 
busy  with  their  own  stage-productions  to  see 
more  than  an  occasional  film,  or  spend  time 
in  a  kinema  studio.  Much  experience  of  both 
is  necessary  for  a  judge  of  film  stories.  Yet 
not  a  single  British  screen-actor  is  among  the 
judges,  and  we  really  have  some. 

Mr.  Griffith  rightly  insisted,  during  his 
recent  visit,  on  the  definite  distinction  of 
stage  and  screen  acting,  and  he  knows, 
having  seen  more  films  than  most  people;  it 
would  be  well  if  all  connected  with  the  Film 
Industry  fully  realised  this  and  did  not 
attempt  to  treat  the  screen  as  a  branch  of 
stage-work.  It  is  most  discouraging,  and  in 
the  name  of  my  fellow-screen  actors  I  protest 
against  giving  precedence  to  these  two 
eminent  stage-actors  before  Colonel  Brom- 
head  and  eminent  scregn  workers  and  ignoring 
screen-actors.  What  can  they  know  of  screen 
requirements  ? 

Recently  you  politely  told  the  A.  A.  to 
mind  its  own  business,  and  I  would  venture 
quite  courteously  to  suggest  to  three  eminent 
stage-actors  that  they  should  confine  their 
attention  to  their  own  “  boards  ”  and  its 
needs,  and  leave  screen-folk  to  attend  to  floor 
and  studio,  and  all  that  pertains  thereto. 

In  a  phrase,  C'hacun  a  son  et,  metier. 

Ess  .Tee. 

EXPERT  KNOWLEDGE— AND  PEARLS. 

You  will,  I  am  sure,  on  the  principle  of 
being  just  even  to  the  humble  lay  press, 
permit  a  few.  lines  in  answer  to  your  criti¬ 
cism  of  my  article  in  the  Morning  Post. 

You  do  less  than  justice  to  my  intensive 
penetration  if  you  think  I  don’t  see  that  a 
slow-motTon  picture  implies  an  ultra-rapid 
camera.  You  idealise  me  if  you  think  I 
can  discern  any  witticism  in  that  phrase : 

I  cannot. 

My  reference  to  “wit”  was  simply  a 
harking  back  to  the  beginning  of  my  article, 
in  which  I  criticised  (on'  points  of  style) 
what  in  the  profession  I  believe  are  called 
“sub-titles,”  what  we  ourselves  shall  hence¬ 
forth  refer  to  simply  as  “Pearls.”  I  must 
have  been  .so  understood,  surely,  by  every 
reader  except  you  yourself,  who  have,  never¬ 
theless,  been  fortunate  if  you  have  ever 
sat  through  a  slow-motion  film  ungarn:shed 
by  “wit  ” 

But  perhaps  your  memory  is  not  good  for 
so  long  a  strain  as  a  column  of  the  Morning 
Post ;  or  can  it  be — since  after  all  someone 
must  produce  these  pearls — can  it  be  that  I 
have  unwittingly  “annoyed  an  oyster”? 

In  any  case,  let  expert  criticism  try  again. 
In  its  first  attempt  to  keep  lay  criticism  in 
its  place  it  has  merely  “come  a  pearler.” 
Don’t  you  think  so? 

Quite  abashed  at  having  interfered  in  your 
family  party. — Walter  Bayes. 


VJ  PEAKING  at  the  Stoll  Picture  Theatre 
^  Club,  E.  A.  Baughan,  dramatic  critic  of 
the  Daily  News,  said  that  there  were  three 
ways  in  which  io  look  at  criticism.  There  was 
the  purely  news  value — telling  people  what  a 
play  or  film  is  like ;  the  personal  view  of 
the  critic — an  aspect  of  considerable  import¬ 
ance  ;  land  a  combination  of  both  of  these, 
which  is  the  true  function  of  the  critic, 
namely,  a  description  of  the  play  and  a 
considered  personal  judgment  as  to  its  dra¬ 
matic  value.  Also,  he  said,  criticism  should 
always  have  a  constructive  element.  The 
speaker  then  turned  to  some  of  the  difficul¬ 
ties  that  stood  in  the  way  of  films  coming  to 
full  development  as  an  art,  not  with  a  view 
to  emphasising  these  difficulties,  but  in  an 
attempt  to  suggest  some  remedies.  The  chief 
difficulty  of  the  critic  when  he  comes  to 
deal  with  films  is  to  know  just  how  to 
apportion  the  responsibility,  for,  owing  to 
the  commercialism  that  pervades  the  film 
Industry,  the  director  is  frequently  over¬ 
ruled  by  the  directors  of  the  firm  for  whom 
he  works.  Whatever  they  suggest  is  done, 
irrespective  of  ;ts  artistic  or  dramatic  value, 
and  this  frequently  affects  the  film  adversely. 

He  was  not  going  to  suggest,  as  other 
speakers  had  done,  that  all  films  should  be 
interest  films.  To  suggest  this  would  be  to 
suggest  that  the  progress  of  the  film  can  be 
checked,  an  idea  that  is  obviously  held  by 
those  who  spend  their  time  in  throwing 
little  bits  of  mud  at  the  screen.  But  the 
progress  of  an  art  cannot  be  stopped,  and 
the  dramatic  development  of  the  screen  will 
go  on. 

One  of  the  great  difficulties  in  the  way  of 
advance  is  that  the  commercial  and  artistic 
side  of  film  making  are  not  kept  sufficiently 
separate.  An  artist  cannot  work  to  dicta¬ 
tion  :  he  must  go  his  own  way  and  work 
out  his  ideas  along  his  own  lines. 


The  two  principal  men  in  the  making  of  a 
film  (are  the  director  and  the  scenarist. 
The  only  real  remedy  for  the  commercialism 
in  the  film  world  is  to  let  these  two  men 
have  a  free  hand.  The  only  interference 
by  the  firm  should  be  the  right  to  suggest 
modifications  when  the  film  is  made.  Until 
the  film  is  completed  the  director  and 
scenarist  should  be  the  only  people  to  have 
a  voice  in  its  production. 

In  addition,  every  studio  should  have  at¬ 
tached  to  it  a  competent  artistic  adviser, 
lurning  to  acting,  the  speaker  said  that 
too  often  the  players  did  not  seem  to  know 
what  they  were  doing.  Particularly  in  close- 
ups,  it  was  noticeable  that  they  were  merely 
“registering”  this  or  that  emotion,  and 
that  they  had  no  real  grip  on  their  role  or 
the  play  as  a  whole.  A  close-up  should  be 
more  or  less  of  an  accident,  designed  to  illu¬ 
minate  suddenly  some  particularly  dramatic 
point.  There  was  no  virtue  whatever  in  a 
close-up  used  merely  to  show  how  pretty  an 
actress  could  look.  It  was  essential  that  in 
the  studio,  as  on  the  stage,  there  should  be 
an  enormous  amount  of  rehearsal  until  the 
actors  knew  exactly  what  was  expected  of 
them  at  any  given  moment.  The  Swedish 
films,  probably  las  the  result  of  the  close  co¬ 
operation  suggested  between  scenarist  and 
director,  seemed  to  have  overcome  some  of 
these  difficulties,  and  their  acting  gave  the 
impression  of  being  natural,  spontaneous 
and  devoid  of  self-consciousness.  Referring 
to  the  exhibiting  end  of  the  business,  Mr. 
Baughan  said  that  exhibitors  must  make  up 
their  minds  what  class  of  people  comprised 
their  audience  and  play  to  them.  “  At 
present,”  he  said,  “the  idea  seems  to  be 
that  a  film  should  appeal  to  as  many  people 
as  possible.  But  this  is  all  wrong.  The 
film  differs  from  no  other  form  of  art 
in  this  respect 


CLUB  CLATTER 


by  CLATTERBOX 

T  am  asked  to  announce  by  Fred  Groves, 

.  chairman  of  the  House  Committee,  that 
in  future  the  club  will  open  on  Sundays  at 
6  p.m. ,  instead  of  3  p.m.,  until  further  notice. 

Swimming  seems  to  be  a  popular  sport 
among  club  members,  and  two  sections  have 
been  formed.  W.  Friese-Greene  is  captain 
and  G.  Hopkirk  vice-captain  of  the  men’s 
section,  while  Irene  Ridgwell  is  captain  and 
Evelyn  Cecil  vice-captain  of  the  ladies’  sec¬ 
tion. 

Tfhe  club  cricket  team  and  a  party  of 
thirty  travelled  to  Bromley  last  Sunday  and 
played  Bromley  Town  cricket  team.  Our 
team  was  fortunate  in  being  captained  by  the 
famous  Essex  player,  G.  G.  Farnfield.  The 


Geoff.  Benstead,  b  Bailey  . 

0 

D.  Payne,  lbw,  b  Wood  . 

...  17 

Colin  Kent,  c  and  b  Janes  .. 

...  0 

W.  A.  Freshman,  not  out  .. 

...  1 

Extras .  . 

...  21 

95 

Second  innings. 

K.  W.  Gordon,  not  out  . 

...  15 

Chris  Walker,  run  out 

...  3 

Geoff.  Benstead,  b  Bacon  ... 

...  2 

Colin  Kent,  b  Janes 

...  15 

W.  A.  Freshman,  b  Bacon 

...  1 

Extras . 

...  12 

result  was  a  bad  thrashing  for  our  team 
again.  The  scores  were: — 

BROMLEY  TOWN. 

W.  Wood,  b  Hamilton  ...  ...  ...  26 

A.  E.  Reed,  not  out  ...  ...  ...  133 

W.  Hole,  b  Hamilton  .  0 

T.  Bacon,  c  Benstead,  b  Payne  ...  ...  5 

P.  Gooding,  c-  Hamilton  ...  ...  ...  94 

Extras  ...  .  ...  34 

*Inning.s  declared.  292* 

KINEMA  CLUB. 

First  Innings. 

P.  Rogers,  run  out  ...  ...  ...  ...  0 

C.  Boucher,  b  Cooding  ...  ...  ...  1 

E.  Hamilton,  b  Cooding  ...  ...  ...  1 

G.  G.  Farnfield,  c  Reed,  b  Janes  ...  37 

K.  W.  Gordon,  b  Cooding  ...  ...  ...  1 

Malcolm  Tod,  b  Reed  ...  ...  ...  15 

Chris  Walker,  lbw,  b  Bailey  ...  ...  1 


(4  wickets)  48 

•  Something  better  than  this  ought  to  come 
from  No.  9.  We  possess  cricketers  of  ster¬ 
ling  merit.  Why  do  they  not  rally  and  lend 
a  hand?  The  Kinema  Club  cricket  team 
ought  to  be  the  best  in  the  Trade,  whereas 
it  looks  capable  of  being  beaten  by  all  and 
sundry. 

The  cllub  production  is  gening  strong. 
Geo.  Ridgwell  is  working  himself  to  a  shadow 
almost  on  it,  and  the  results  should  justify 
the  expenditure  cif  energy  and  time 
that  has  been  involved.  Edith  Bishop  is 
playing  the  lead,  and  on  every  hand  there 
are  evidences  of  the  enthusiastic  support  of 
all  who  matter.  Spillman  and  Co.  has  been 
kind  enough  to  lend  all  the  furniture  needed, 
and  Screenplays  has  joined  Davidson  in  offer¬ 
ing  the  use  of  studio.  The  company  has 
been  on  location  in  Oxshot,  and  is  now 
busy  on  interiors. 


9 


THE  MOTION  PICTURE  STUDIO 


June  17,  1922 


HISTRIONICS  AS  A  SCIENCE 

Ly  COLONEL  NETTERVILLE  BARRON,  C.M.G.,  M.V.O. 

By  the  courtesy  of  H.  L.  Barbor,  the  editor  of  the  “  Actor,”  we  continue  this  week  the  series  of  articles  on  the  scientific  aspect 
of  acting.  Colonel  Barron  is  a  physician  and  dramatist  and  is  a  Fellow  of  the  Royal  Society  of  Medicine.  He  is  the  author 
of  “ The  Three  Brothers”  and  other  wordless  plays,  and  founded  the  Windsor  Forest  School  of  Physical  Culture.  He  is 

well  known  as  a  lecturer  on  the  Art  of  Dramatic  Expression 


THIRD  ARTICLE 

[Colonel  Barron,  having  discussed  the 
[’rimary  Emotions,  considers  here  their  com¬ 
pounds,  which  he  calls  Secondary  Emotions.] 
TITHE  Secondary  Emotions,  being  com- 
pounds  of  the  Primary  Emotions,  are 
expressed  by  compound,  and  therefore  very 
complicated,  movements.  They  are  far  too 
complicated  to  be  described  in  an  article  of 
this  length.  The  student  should  refer  to 
the  Table  given  in  the  last  issue,  and,  by 
combining  the  movements  there  detailed, 
work  out  for  himself  the  appropriate  ex¬ 
pressions. 

An  analysis  of  twenty  Secondary  Emotions 
is  given  at  the  end  of  this  article. 

The  movements  of  a  Secondary  Emotion 
vary  according  to  the  relative  intensity  of 
its  elements.  Thus  Fascination  is  a 
secondary  emotion  compounded  of  three 
elements,  Wonder,  Fear  and  Disgust.  Fear 
and  Disgust  are  backward  movements, 
nevertheless  a  victim  of  Fascination  goes 
forward  because  Wonder  is  the  most  imense 
emotion  and  wonder  is  a  forward  movement. 

Sometimes  the  movements  of  a  secondary 
emotion  are,  so  to  speak,  flatly  contradictory. 
Thus  Doubt  is  a  compound  of  forward 
Wonder  and  backward  Fear.  This  may,  and 
often  does,  result  in  arrested  movement.  A 
man  perplexed  by  doubt  is  apt  to  stand 
still. 

When  a  secondary  emotion  is  compounded 
of  a  great  many  primary  elements,  as,  for 
example,  Anxiety,  the  dominant  elements 
may  completely  mask  those  which  are  less 
intense.  The  appropriate  movements  of 
Anxiety  can  only  be  decided  upon  when  it 
is  known  what  the  cause  of  the  anxiety 
actually  is.  A  mother  may  be  anxious  about 
her  child,  or  a  student  may  be  anxious 
about  his  examinations.  The  elements  are 
the  same  but  the  resultant  movements  are 
different. 

Suppose  the  student  to  have  acquainted 
himself  with  all  the  laws  of  dramatic  move¬ 
ment.  Suppose  him  capable  of  earning  full 
marks  in  an  examination,  would  he  then  be 
a  good  actor? 

The  answer  is,  of  course,  certainly  not. 
lie  might  be  a  good  critic,  he  might  be  a 
good  teacher  in  that  he  could  support  his 
theories  by  facts,  but  to  be  a  good  actor  he 


requires  something  more.  He  requires  the 
temperament  and  disposition  of  an  actor. 
Add  these  to  his  knowledge,  and  he  wiil  be 
a  good  actor. 

What  then  are  the  temperament  and  dis¬ 
position  of  an  actor? 

Disposition  is  determined  by  a  physical 
fact,  which  depends  on  the  presence  in  the 
bnain  of  certain  nervous  centres.  The  locali¬ 
sation  within  the  brain  of  what  are  com¬ 
monly  regarded  as  mental  states,  such  as 
pugnacity,  is  a  doctrine  not  generally  ac¬ 
cepted  by  psychologists.  My  own  investi¬ 
gations  have,  however,  persuaded  me  that 
localisation  is  a  fact.  For  without  assum¬ 
ing  definite  centres  the  facts  of  movement 
cannot  be  explained.  Every  primary  instinct 
with  its  corresponding  emotion  has,  in  my 
opinion,  its  centre  in  the  brain.  Disposi¬ 
tion  depends  on  which  of  these  centres  is 
the  most  constantly  active.  If,  for  example, 
the  centres,  Positive,  Pugnacity  and  Ac¬ 
quisitive  are  the  most  constantly  active,  that 
man  will  have  the  disposition  of  a  soldier  of 
fortune.  If  Wonder,  Negative,  Sympathy 
and  Fear  constantly  predominate,  that  man 
will  have  the  disposition  of  a  somewhat 
meek  philanthropist. 

The  disposition  of  an  actor  is  made  up 
from  Wonder,  Constructive,  Positive-Nega¬ 
tive  and  Sympathy.  The  Positive-Negative 
“mix-up  ”  seems  to  be  a  peculiarity  of  all 
artistes.  In  this  respect  they  are  apt  to  be 
unstable,  one  day  aching  to  suffer,  the  next 
arrogant  in  their  assertion. 

The  writer  does  not  find  it  necessary  to 
assume  a  special  artistic  centre,  nor  is  there 
any  evidence  of  the  so-called  aesthetic 
emotion  being  anything  more  than  a  fashion 
of  interaction  between  the  intellect  and  one 
or  more  of  the  primary  emotions. 

There  is  a  very  definite  centre  for  speech 
and  another  less  definite  for  musical  sounds. 
We  may  have  to  deal  with  these  when  we 
pass  out  of  the  region  of  the  emotions 
situated  in  the  hind  parts  of  the  brain,  into 
the  region  of  the  intellect,  the  physical 
machinery  of  which  would  appear  to  be  con¬ 
nected  with  that  part  of  the  brain  Ring, 
approximately,  in  front  of  a  line  drawn 
vertically  upwards  from  the  opening  of  the 
ear. 

Disposition  is  the  emotion  normally  in  the 
greatest  state  of  activity.  The  usual  dis¬ 


position  of  an  actor  is  sympathy.  But  it  is 
a  form  of  sympathy  which  impels  him  to 
crave  from  the  crowd  attention  to  himself. 

Temperament  is  dependent  on  the  circula¬ 
tion  in  the  blood  of  certain  gradular  secre¬ 
tions.  The  ancients  divided  it  into  choleric 
(excess  of  yellow  bile),  melancholic  (excess 
of  black  bile),  sanguiqe  (excess  of  red  blood), 
phlegmiatic  (excess  of  lymph).  We  cannot 
discuss  these  in  the  space  at  our  disposal. 

A  knowledge  of  the  temperament  and  dis¬ 
position  of  an  actor  is  necessary  for  correct 
casting. 

There  are  three  other  psychological  con¬ 
cepts  which  we  must  consider.  They  are 
character,  sentiment  and  personality. 

A  man’s  character  may  be  described  as 
the  resultant  of  the  battle  between  the  acti¬ 
vities  of  the  fore  and  hind  parts  of  his 
brain.  As  we  have  pointed  out,  this  battle¬ 
ground  is  the  dwelling-place  of  the  Soul. 
Therefore,  character  is  determined  by  Body, 
Mind  and  Soul. 

Body  may  be  regarded  as  altogether  phy¬ 
sical.  Mind  is  half  physical  and  half 
spiritual.  Soul  is  altogether  spiritual.  Now 
it  is  probable  that  anything  altogether 
spiritual  cannot  with  accuracy  be  described 
as  dwelling  anywhere.  Soul  deals  neither 
with  time  nor  with  space.  It  is  something 
from  without  and  is  not  in  any  way  a  higher 
development  of  mind.  It  is  not  even  re¬ 
quisite  to  possess  a  highly  developed  mind 
in  order  to  experience  soul.  On  the  con¬ 
trary,  it  would  seem  as  if  those  who  were 
nearest  to-  Nature,  the  most  elemental,  can 
experience  soul  most  readily. 

/There  are,  therefore,  two  (varieties  of 
spirit — mind  and  soul.  And  when  we  say 
that  soul  has  a  dwelling-place  all  we  wish 
to  convey  is  that  amid  the  ebb  and  flow  of 
conflict  the  soul  joins"  issue,  impressing  its 
power,  receiving  its  wounds. 

All  these  things  are  shown  plainly  in  the 
bodily  movements  of  a  man,  and  the  sum  of 
his  movements  is  his  personality.  _  Person¬ 
ality  varies  in  accordance  with  a  man’s  phy¬ 
sical  and  moral  qualities.  It  can  be  good 
and  bad.  There  are  men  from  whom  bad¬ 
ness  seems  to  radiate  like  a  blast  from  hell 
itself.  (Man  is  used  in  a  general  sense  and 
should  be  taken  as  including  women.)  There 
are  men  from  whom  goodness  radiates  like 
a  bendiction.  Both  can  be  great  in  the  sense 
that  they  are  capable  of  producing  far- 
reaching  effects. 

Sentiment.  Love  is  a  sentiment.  If  we 
can  analyse  love  we  shall  know  what  a  sen¬ 
timent  is. 

A  is  in  love  with  B.  A  (sexually)  wants 
B.  B  is  in  danger,  A  is  afraid.  A  is  Posi¬ 
tive  or  Negative,  so  is  B.  B  is  wonderful 
to  A.  B  Las  a  lover  already  and-  A  is 
angry.  A  wishes  to  “mother  ”  B.  In  short, 
A’s  love  is  seen  to  be  a  mixture  of  primary 
emotions  aroused  by  B  and  varying  with  the 
circumstances  in  which  A  and  B  find  them¬ 
selves.  That  is  Sentiment. 

Many  of  the  secondary  emotions  and  some 
of  the  primary,  for  example,  Emulation, 
have  a  sentimental  value.  Their  operation 
is,  m  fact,  dependent  on  the  circumstances 
of  the  moment.  “Sentiments  are  a  damned 
nuisance  ”  is  a  true  remark  made  by  one 
of  the  writer’s  pupils.  They  are.  Never- 

Continued  on'pa&e  11. 


HENRY  T.  HARRIS, 

CAMERAMAN . AT  LIBERTY. 

PHOTOGRAPHER  OF 

“THE  BIGAMIST. 

Address:  118,  CLAPHAM  ROAD,  S.W.9. 


THE  MOTION  PICTURE  STUDIO 


June  17,  1922 

PHOTO-PLAYWRIGHTS  &  SCENARISTS 


fTMME  and  again  the  cry  goes  forth 
from  film  directors  :  “  We  must 
have  stories.”  Time  and  again  you 
send  off  your  pet  scenario  with  prayers 
and  return  postage,  only  to  receive  it 
back  in  due  course  with  the  usual 
“  regrets.” 

Now  what  is  wrong  ?  It  may  be  that 
in  ninety-nine  cases  out  of  a  hundred 
the  story  submitted  is  either  quite  use¬ 
less  or  unsuitable;  it  may  be  that  it  is 
not  judged  fairly,  or  it  may  be  that 
stories  are  really  not  wanted  at  all  1 

To  take  the  first  case,  I  have  myself 
had  considerable  experience  with  deal¬ 
ing  with  MSS.  submitted  to  Studios  both 
in  this  country  and  in  America.  Ninety- 
nine  per  cent,  of  the  stuff  sent  in  is 
unquestionable  “  tripe  ” — written  by 
people  who  have  not  the  least  conception 
of  even  the  elementary  requirements  of  a 
photo-plav.  .  The  remaining  one  per 
cent,  is  probably  good  filmable  material, 
but  perhaps  unsuited  to  the  requirements 
of  the  particular  Studio  to  which  it  is 
sent. 

And  now  to  take  the  second  case  : 
How  many  of  the  English-producing  con¬ 
cerns  can  boast  of  a  scenario  department 
or  even  of  a  scenario  editor? 

It  is  quite  possible  that  scripts  sub¬ 
mitted  are  read  in  the  lunch  hour  by 
some  flapper  typist  who  knows  as  much 
about  ‘‘story  construction  ”  and  “drama¬ 
tic  values  ”  as  the  average  scenarist 
knows  about  knitting  jumpers.  Per¬ 
haps  they  are  not  even  read  at  all  when 
there  is  no  staff  for  that  purpose. 

In  the  American  studio  with  which  I 


ty  KINCHEN  WOOD 

was  associated,  the  scenario  department 
consisted  of  an  editor,  a  title  writer  and 
six  readers — all  expert  critics  and  able 
to  visualise  each  story  as  it  would  appear 
if  screened.  In  this  way  only  can  MSS. 
be  properly  judged. 

Directors  shriek  .for  stories  because 
really  good  ones  are  scarce — every  theme 
has  now  been  so  thoroughly  exploited 
that  they  are  at  their  wits’  end  to  find 
something  new.  I  refer,  of  course,  to 
the  American  studios  which  are  genuinely 
in  search  of  original  plots  and  are  will¬ 
ing  to  bay  for  them. 

When  ninetv-nine  per  cent  of  the  stuff 
is  “the  bunk,”  as  they  say  over  there, 
well  may  they  shout  and'  incidentally 
decide  to  film  well-known  novels  instead. 

But  in  this  country  the  case  is  some¬ 
what  different.  In  the  first  place,  com¬ 
panies  will  not  pay  anything  like  a  fail- 
price  for  an  original  story,  though  they 
will  meekly  pay  large  sums  to  authors 
for  the  rights  to'  film  their  novels,  which 
mav  be,  and  usually  are,  totally  unsuit¬ 
able  for  film  purposes. 

So  I  repeat  that  over  here  it  would 
seem  that  stories  are  not  wanted,  and 
that  photo-playwrights  “need  not 
apply !  ” 

Continuity  writing  is  another  much 
abused  and  poorly  paid  art  in  this  coun¬ 
try.  When  a  scenarist  is  lucky  enough 
to  obtain  a  commission  the  chances  are 
that  hg  is  expected  to  rattle  off  a  full¬ 
blown  working  continuity  in  about  a 
week ! 

To  obtain  anything  like  a  good  result 
three  clear  weeks  are  essential,  espe¬ 


cially  if  the  work  entails  adaptation  as 
it  generally  does,  and,  moreover,  the 
close  association  of  author,  director  and 
scenarist  is  absolutely  essential  to  get 
the  very  best  out  of  the  material  at 
hand. 

And,  above  all,  the  continuity  writer 
should  receive  adequate  recognition  and 
publicity  for  his  work.  Mr.  Mannock’s 
letter  is  Unfortunately  an  exposure  of 
an  all-too-common  state  of  affairs.  A 
bad  continuity  can  and  will  ruin  the  best 
story,  the  'best  .acting,  direction  and 
photography — it  can  make  /  or  mar  a  pro¬ 
duction — surely  then  this  service  is  worth 
paying  for,  and  the  scenarist’s  name 
should  unquestionably  appear  on  the  film, 
as  publicity  after  all  is  to  him  the 
“breath  of  life.  ” 


Continued  from  page  10. 

theless,  the  sentiments  of  Love  and  Hatred 
are  the  everlasting  themes  of  the  Drama. 

In  spite  of  the  never-ending  interest  in 
love,  there  are  few  good  dramatic  lovers — 
why? 

Is  it  because  the  actor  tends  to  the  con¬ 
clusion  that  love  is  an  emotion  and  has  not 
perceived  that  it  is  a  sentiment,  and,  as 
such,  covers  the  whole  gamut  of  the 
emotions? 

Sentiments  are,  in  fact,  “a  damned 
nuisance,”  because  they  are  difficult  to  act. 
But  let  the  actor  conscientiously  study  his 
movements,  and  his  difficulties  will  gradu¬ 
ally  disappear. 

The  analysis  given  below  is  incomplete, 
but  it  will  be  found  “dramatically  ”  correct. 


A  Table  of  Twenty  Secondary  Emotions  and  of  the 

Sentiments.  Love  and  Hatred. 

NOTE.  —  The  movements  which  represent  this  class  of  emotion  are  “made  up”  from  the  movements  representing  the  Primary 
Emolions  (see  article,  November  issue).  Thus,  Admiration  is  in  part  a  movement  of  Wonder  anu  part  a  movement  of  the  .  ega  lie 
emotion,  and  so  on.  The  student  should  work  them  out  carefully,  judging  for  himself  the  degree  of  each  primary  movement  necessary. 


Secondary 

Secondary 

Secondary 

Secondary 

Emotion. 

Elements. 

Emotion. 

Elements. 

Emotion. 

Elements. 

Emotion. 

Admiration. 

Wonder. 

Fascination. 

Wonder. 

Love 

Tenderness. 

Reverence. 

Negative. 

Fear. 

{really  a 

Positive- 

Disgust. 

sentiment). 

Negative. 

A  nxiely. 

Tenderness. 

Anger. 

Po-itive- 

Gratitude. 

Tenderness. 

Fear. 

Negative. 

Negative. 

Wonder. 

Wonder. 

Emulation. 

Revenge. 

Anger. 

Hatred 

Disgust. 

Fear  (with 

( really  a 

Anger. 

Pity. 

Tenderness. 

Reproach. 

pain). 

sentiment). 

Fear. 

Wonder. 

Sympathy. 

Awe . 

Wonder. 

Positive- 

Remorse- 

Positive- 

Negative. 

Negative. 

Negative. 

Scorn. 

Fear. 

Emulation. 

Anger  (self- 

directed). 

Contempt. 

Disgust. 

Jealousy. 

Positive 

Resentment. 

Anger. 

Shame. 

Positive. 

(interrupted). 

Anger. 

Positive. 

Doubt. 

Wonder. 

Fear. 

Acquisition. 

Suspicion. 

Loathing. 

Fear. 

Envy. 

Anger. 

Negative. 

Wonder. 

Emulation. 

Disgust. 

Sulkiness. 

Elements. 


Wonder. 

Negative.  Awe. 
Fear 

Tenderness.  )  Grati- 
Negative.  J  tude. 

Anger. 

Positive  (accented). 

Anger. 

Tenderness. 

Anger. 

Disgust. 

Positive. 

Positive  and  Negative 
interrupting  one  an¬ 
other,  with  Pain. 

Anger. 

Fear. 

Positive-Negative 
interrupted  by 
Anger. 


June  17,  1922 


THE  MOTION  PICTURE  STUDIO 

fict&e  -of  tfiui  4tZocUcr 

PRODUCTIONS  AND  WHO  IS  WORKING  ON  THEM 


Alliance  Film  Co. 

Sir  Dio:  St.  Margaret’s,  Twicken¬ 
ham. 

Film  :  “Love  and  the  Whirlwind.” 
Direc  tor  :  Harold  Shaw. 

Star:  Clive  Brook  and  Marjorie 
Hume. 

Cameraman  :  Phil  Hatkin 
Stage  :  Seventh  week. 

British  International. 

Address  :  Windsor  Studios,  Cat- 
ford. 

Film  :  “  The  Price  of  Silence.” 
Director  :  Fred  Granville. 

Type  :  Five  reel  drama. 

Stage  :  On  location  in  Tripoli. 

British  Super  Films. 

Address  :  Worton  Hall,  Isleworth. 
Film  :  “  The  Faithful  Heart.” 
Director  :  Fred  Paul. 

Stars  :  Owen  Nares  and  Lilian 
Hall  Davis. 

Cameraman  :  S.  Blythe. 

Tylpe  :  Drama. 

Stage  :  Cutting  and  Editing. 


Film  :  “  Brown  Sugar.” 

Star  :  Owen  Nares. 

Director  :  Fred  Paul. 

Cameraman  :  S.  Blythe. 

Stage  :  Second  week. 

Davidson 

Film  :  Sporting  drama. 

Director  :  Arthur  Rooke. 
Cameraman  :  Leslie  Eveleigh. 
Stage  :  Third  week. 

Diamond  Super  Production. 

Studio  :  B.  &  C.,  Walthamstow 
Film  :  “  A  Rogue  in  Love.” 

Star  :  Gregory  Scott. 

Director  :  Albert  Brouett. 
Cameraman  :  L.  G.  Egrot. 

Stage  :  Fifth  week. 

Gaumont. 

Studio  :  Lime  Grove,  Shepherd’s 
Bush,  W.12. 

Film  :  “  Bob  Boy.” 

Director  :  Will  Kellino. 

Star  :  David  Hawthorne. 
Cameraman  :  A.  St.  Brown. 

Type  :  Historical  drama. 

Stage  :  First  week. 


Film  :  “The  Life  of  Lord  Byron.” 
Director  :  Capt.  Calvert. 

Star  :  Howard  Gaye. 

Cameraman  :  Basil  Emmott  and  A. 
St.  Brown. 

Type  :  Super  production. 

Stage  :  Cutting  and  assembling. 

Ceorge  Clark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Film  :  “  Fox  Farm.” 

Director  :  Guy  Newall. 

Stars  :  Guy  Newall  and  Ivy  Duke. 
Stage  :  Third  week. 

Ceorge  K.  Arthur  Productions. 

Address  :  3,  Wardour  Street. 

Film  :  “  The  Night  Errant.” 
Director  :  Ed.  B.  Gordon. 

Star  :  G.  K.  Arthur. 

Scenarist  :  W.  G.  Summers. 
Cameraman  :  B.  Terreneau. 

Stage  :  Casting. 

Hardy. 

Address:  13,  Gtrrard  St.,  W.  1. 


Film  :  “  The  Adventures  of  Billy 
Bunter.” 

Type  :  Comedy  Series. 

Stage  :  Scheduled. 

Ideal. 

Address  :  Boreham  Woods,  Elstree; 
1  Herts. 

Studio  Manager  :  F.  A.  Kendrick. 
Stage  Manager  :  F.  G.  Knott. 
Film  :  “  A  Bill  of  Divorcement.” 
Director  :  Denison  Clift. 

Stars  :  Fay  Compton  and  Con¬ 
stance  Binney. 


Alliance  Film  Co.,  St.  Margaret’s-on- 
Thames.  ’Phone  :  Richmond  1945. 

Barker  Motion  Photography,  Ltd., 
Ealing  Green,  London,  W.5.  ’Phone  ; 
Ealing  211  and  1582 — Barmopho,  Ealux. 

British  &  Colonial  Kinematograph 
Co.,  Ltd.,  Hoe  Street,  Walthamstow, 
E.  17.  ’Phone  :  Walthamstow  364 

and  712. 

British  International,  Windsor  Studios, 
Catford. 

British  and  Oriental  Films,  Ltd., 
Thornton  House,  Thornton  Road,  Clap- 
ham  Park.  ’Phone  :  Streatham  2652. 

British  Famous  Films,  Ltd.,  “Wood¬ 
lands,”  High  P-ai,  Whetstone,  N.20. 
Phone  :  Finchley  1297. 

British  Photoplays,  Devon  Chambers, 
28  Fleet  Street,  Torquay, 

British  Super-Productions,  Worton 
Hall,  Isleworth.  ’Phone  :  Hounslow 
212. 

Broadwest  Films,  Ltd.,  Wood  Street, 
Walthamstow,  F.17.  ’Phone  :  Waltham¬ 
stow  399 - Broadwest  Films,  Wal¬ 

thamstow. 

Davidson,  I.  B.,  588,  Lea  Bridge  Road, 
Leyton,  F.10.  ’Phone,  Walthamstow  634 
Famous  Players-Lasky  British  Pro¬ 
ducers,  Ltd.,  Poole  Street,  New 
North  Road,  Islington,  N.l.  ’Phone  : 
Dalston  3704. 

Gaumont  Co.,  59,  Lime  Grove,  Shepherd’s 
Bush,  London,  W.12.  ’Phone  :  Hammer¬ 
smith  2090-1-2 - Prolougue,  ’Phone 

London. 

Granger — Binger,  Haarlem,  Holland. 
London  Office  :  Granger’s,  Exclusives, 
191,  Wardour  Street,  W.l.  ’Phone  : 
Gerrard  1081  and  1728.  Telegrams  : 
Lxdugrang,  London. 

George  glare  Productions,  47,  Berners 
Street,  W.l.  ’Phone  :  Museum  3012. 
Studio  :  Candlemass  Lane,  Beacons- 
field. 

Glen  Film  Producing  Co.,  Ltd.,  20, 
Lisle  Street,  London,  W.C.,  and  “  Bel- 
grave.”  Marine  Terrace,  Aberystwyth. 
Hardy  Film  Co.,  Worton  Hall,  Isleworth, 
Middlesex.  ’Phone  :  Hounslow  212. 
Parma  Clarendon  Co.,  16  Limes  Road, 
Croydon.  ’Phone  :  Croydon  921  and 
2084 - Cinemat. 


International  Artists. 

Address:  57,  Shaftesbury  Av,W  1. 
Film  :  “  The  Lark’s  Gate.” 
Director  :  Donald  Crisp. 

J.  Stuart  Blackton. 

Address  :  Bush  House,  Aldwycb , 
W.C. 

Film  :  “  Love’s  April.” 

Star  :  Georges  Carpentier. 
Director  :  J.  Stuart  Blackton. 
Stage  :  Starting  shortly. 

Masters. 

Address  :  Weir  House,  Broom 
Boad,  Teddington, 


Hepworth  Picture  Plays,  Ltd.,  Hurst 
Grove,  Walton-on-Thames.  ’Phone  : 

alton-on-Thamea  16 - Hepworth 

Walton. 

Ideal  Film  Co.,  Ltd.,  Boreham  Wood 

Elst.ree,  Herts.  ’Phone  :  Elstree  52 - 

Idefllms,  Boreham  wood. 

International  Artists  Film  Co.,  Ltd., 
52  Shaftesbury  A  venue,  W.l. 

Isle  of  Man  Film  Co.,  The  Manx  Studios, 
Isle  of  Man. 

J.  Stuart  Blackton  Productions,  Bush 
House,  Aldwych.  ’Phone:  Central  4048 

Kenneth  Graeme  Film  Syndicate,  3-5, 
Cecil  Court,  Charing  Cross  Road,  London 
W.C.  2.  ’Phone  :  Regent  4475. 

Lambart  Films,  Carlton  House,  Regent 
Street,  London,  W.  ’Phone:  Gerr.  4040. 

Master  Films,  Weir  House,  Broom  Road. 
Teddington.  'Phone:  Kingston  1617. 

Minerva  Film  Co.,  Ltd.,  110,  Victoria 
Street,  S.W.l.  ’Phone  :  Victoria  7545. 

Progress  Film  Co., The  Beach,  Shoreham- 
by-Sea,  Sussex.  ’Phone  :  Shoreham 
19. 

Raleigh  King  Productions,  Watcombe 
Hall,  Torquay. 

Regulus  Films  :  48,  Carnaby  Street, 

Regent  Street,  W.l. 

Screenplays.  Ltd.,  Cranmer  Court,  High 
Street,  Clapham,  W. 4.  ’Phone:  Brixton 

2956. 

Seal  Productions,  181,  Wardour  Street, 
London,  W.l.  ’Phone  :  Begent  4329. 

Stoll  Picture  Productions,  Ltd..  Tem¬ 
ple  Road,  Cricklewood,  N.W.2.  Willes- 
den  3293 - Stollpic,  Crickle,  London. 

Thompson  Productions,  Hoe  Street 
Studios,  Walthamstow.  'Phone  :  Wal¬ 
thamstow  364  and  712. 

Torquay  &  Paignton  Photoplays,  Ltd., 
Public  Hall,  Paignton,  S.  Devon. 

Union  Film  Co.,  Strand  Street, 
Liverpool.  ’Phone  :  Central  325 

Walter  West  Productions  :  Prince’s 
Studios,  Kew  Bridge,  Brentford,  Middle¬ 
sex.  ’Phone  :  Chiswick  574. 

Welsh,  Pearson  &  Co.,  41-45,  Craven 
Park,  Harlesden,  N.W.10.  ’Phone  : 
Willesden  2S62. 


Film  :  One  reelers. 

Directors  :  H.  B.  Parkinson,  Ed¬ 
win  J.  Collins,  Challis  Sanderson, 
and  George  Wynne. 

Cameraman  :  Theodore  Thum- 
wood. 

Type  :  One  reelers. 

Stage  :  Two  a  week. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 

Film  :  “  Little  Miss  Nobody.” 

Director  :  Wilfred  Noy. 

Star  :  Mavis  Clare. 

Cameraman  :  S.  Mumford. 

Stage  :  Fifth  week. 


Film  :  “  Rogues  of  the  Turf.” 
Director  :  Wilfred  Noy. 

Stage  :  Scheduled. 

Quality  Films. 

Address  :  Thornton  House,  Clap- 
ham  Park. 

Film  :  Pan  stories. 

Director  :  George  A.  Cooper. 
Cameraman  :  Bandal  Terreneau. 
Type  :  One  reelers. 

Stage  :  One  a  week. 

Stoll. 

Address  :  Temple  Boad,  Crickle¬ 
wood. 

Studio  Manager  :  J.  Grossman 
Film  :  “  Punning  Water.” 
Director  :  Maurice  Elvey. 
Cameraman  :  J.  J.  Cox. 

Stage  :  Completed. 


Film  :  “  Dick  Turpin’s  Bide  to 

York.” 

Director  :  Maurice  Elvey. 

Star  :  Matheson  Lang. 
Cameraman  :  Jack  Cox. 

Stage  :  Second  week. 

Welsh  Pearson. 

Address  :  41-45,  Craven  Park, 
Harlesden,  N.W.  10. 

Film  :  “  A  Sailor  Tramp.” 

Star  :  Victor  McLaglen. 

Director  :  F.  Martin  Thornton. 
Cameraman  :  Percy  Strong  - 
Stage  :  Fifteenth  week. 


Film  :  “  Wee  Macgregor’s  Sweet¬ 
heart.” 

Star  :  Betty  Balfour. 

Director  :  George  Pearson. 
Cameraman  :  Emile  Lauste. 

Stage  :  Tenth  week. 

Walter  West  Productions. 

Film  :  “  Son  of  Kissing  Cup.” 

Director  :  Walter  West. 

Star  :  Violet  Hopson.  • 

Stage  :  Cutting. 

Film  :  “  The  White  Hope.” 
Director  :  Walter  West. 

Stars  :  Violet  Hopson  and  Stewart 
Borne. 

Stage  :  Second  week. 

Zodiac. 

Film  :  “  Walter  Wants  Work.” 
Director  :  Tom  Seamore. 

Star  :  Walter  Forde. 
Cameraman  :  M.  Rednap. 

Stage  :  Fifth  week. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W.  i 


Stage  :  Fourth  week. 

STUDIO  DIRECTORY 

Addresses  and  ’Phone  Nos.  of  all  British  Studios 


Printed  and  Published  by  ODHAMS  PRESS  Lid..  Long  Acre,  W.C.2.— June  17,  1922 


Representing  : 

ROBERT  LORAINE 
CLIVE  BROOK 
ARTHUR  PUSEY 
FRANCIS  LISTER 
LADDIE  CLIFF 
MURRAY  GRAHAM 
OLAF  HYTTEN 
MARTIN  WALKER 
BERT  DARLEY 
LIONELLE  HOWARD 
HARDING  STEERMAN 
JACK  HOBBS 
WILLIAM  LUGG 
FREDERICK  ROSS 
DAVID  GREY 
SYDNEY  PAXTON 
LAURENCE  HANRAY 
ROBERT  MICHAELIS 
GEORGE  BELLAMY 
ALBERT  RAYNER 
ROY  BYFORD 
JACK  BUCHANAN 
HARRY  GREEN 
JAY  LAURIER 
FRANK  STANMORE 
M.  A.  WETHERELL 
FISHER  WHITE 
FRANK  DANE 
CHARLES  THURSBY 
REGINALD  FOX 
LAUDERDALE  MAITLAND 
RAE  RAYMOND 
HAROLD  MARTIN 
EVELYN  BRENT 
LILIAN  DOUGLAS 
BETTY  FAIRE 


n^hose  artistes  who  are  not 
x  satisfied  with  the  way 
their  business  is  handled  could 
not  do  better  than  consult 
Frank  Zeitlin. 


Regent  6696. 


Booking  Agency  for  Film  &  Stage. 


J,  Gt.  Windmill  Street , 

Piccadilly  Circus,  W.l. 


Presents  his  compliments  to 
producers  and  would  like  to 
emphasise  the  fact  that  his 
exceptional  knowledge  and 
artistic  temperment  is  at  their 
disposal ,  to  assist  them  in  their 
selection  of  suitable  artistes. 
The  personal  attention  given 
to  all  producers  makes  it  a 
pleasure  for  them  to  entrust 
their  business  to  him. 


Representing : 

ANN  TREVOR 
MARJORIE  MEADOWS 
JOSEPHINE  EARLE 
ISABEL  JEANS 
MOLLY  ADAIR 
HILDA  COWLEY 
ANITA  ELSON 
OLIVE  SLOANE 
MADAME  TRIPOD 
EMILY  NICHOL 
GERTRUDE  STERROL 
IRENE  RUSSELL 
MARGARET  BLANCHE 
YVONNE  THOMAS 
MARGARET  BANNERMAN 
MARIE  NOVELLO 
DAISY  CAMPBELL 
MOLLY  KERR 
JOAN  LOCKTON 
ETHEL  NEWMAN 
DOROTHY  DRAKE 
DORIS  LLOYD 
GEORGETTE  MORAN 
ANNIE  HUGHES 
JOAN  BARRY 
IVO  DAWSON 
COLLETTE  BRETTEL 
MADGE  FRASER 
JACK  ROBERTS 
JACK  TREVOR 
MARY  DIBLEY 
FLORA  LE  BRETON 
MALCOLM  TOD 
HENRY  VICTOR 
C.  M.  HALLARD 


THE  MOTION  PICTURE  STUDIO 


June  24,  1922 


BERT  DARLEY, 

Character, Juvenile &Comedy 
Featured  in  “  The  Hidden 
Life,”  “  The  Husband  Hun¬ 
ter,”  “  The  Shuttle  of  Life,” 
“Burnt  In,”  “  The  Beggars 
Syndicate.”  “Laughter  and 
Tears,”  "  Our  Aggie,”  “  She 
Would  Be  Wicked.” 

31,  St.  Augustine's  Road, 
Camden  Square,  N.VV.l. 


JOHN  EAST, 

14,  Iffley  Read,  Hffnpiers m ilh,  W.  f. 
Ham.  1138. 


TONY  FRASER 

Specialities  : — Oriental  and 
Near  Eastern  Parts. 

Just  finished  with  Stoll. 
“Broken  Road,”  “Four 
Feathers,’  “The  Lamp  of 
the  Desert.” 

OPEN  TO  OFFERS. 
Address— 18.  Leinster  Sq.. 
W.2.  'Phone — Park  4765 


David  Grey. 

Jun.  Straight  or  Character. 

Address  — 18a,  Brixton 
Road,  S.W. 

’ Phone  — 

Brixton  2366. 


GEOFFREY 

BENSTEAD, 

CHARACTER  LEAD. 
Horseman,  Athlete,  Stock¬ 
whip  Expert,  Axeman  Stunts, 
etc. 

At  Present  Controlling 
BAND  Z  PRODUCTION 
“REPENTANCE.” 


MALCOLM  TOD 

juvenile  Lead: 

“The  Bachelor’s  Baby,” 
Shown  this  week,  “  Expiation,” 
and  “The  Thief,’’  showing 
shortly.  Now  playing  Juvenile 
Lead  in  “  Dick  T  urpin’s  Ride 
to  York.” 

Address  :  The  Kinema  Club, 
Regent  2131.  Private  'Phone 
No.  Western  6882. 


GORDON  BEGG 

Dramatic  —  Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.  11, 

Telephone  :  Battersea  21. 


SYDNEY  WOOD, 

Juv.  Leads  in  “  The  Warrior 
Strain,”  “Her  Benny,”  “  Ever 
Open  Door,”  “  Bars  of  Iron,” 
“The  Flame,”  “The  Will,” 
“  Double  Event.”  “David  and 
Jonathan,”  etc  Address  : 
The  Laurels.  Beverley  Road, 
Anerley,  S.E. 

’Phone  :  Chancery  7080-7081. 


ARTHUR  CLEAVE, 

15,  Shepherd’s  Hill,  Highgate,  N.6. 

'Phone  :  Hornsey  1781  . 


IRENE 

MATHEWS 

Character,  Emotional  and 
Comedy. 

Alliance.  Ideal,  Stoll. 

16,  Trentishoe  Mansions, 

90,  Charing  Cross  Rd.,  W.C.2 
’Phone  :  Gerrard  1176. 

 Photo  by  Navana. 


ALEC.  ALEXANDER 

Juvenile  Artiste.  Jnr. 

OFFERS  WANTED. 
All  corns.:  163,  Hackney 
Road,  E.2. 

'Phone  :  Dalston  2583. 
or  KINEMA  CLUB, 
Regent  2131. 


MARGARET 

HOPE, 

Character  &  J  uvenile  Leads. 

Late  Ideal,  Masters,  Stolls, 
etc.,  etc. 

42,  Bland  ford  Square, 
Marylebone,  N.VV.l. 
Phone:  Padd.  7211. 


LILIAN 

DOUGLAS, 

Just  completed  second  lead 
in  “PERPETUA”  (Famous 
Players-Lasky). 

At  present  Walter  West 
Sole  Agent,  Picture  Plays. 
Sid  Jay.  is  1 .  Wardour  St. 
Phone  :  Regent  4329. 


MARIE  AULT, 

Character  and  Comedy. 

235,  Kings  Rial, Chelsea, 


Juvenile  Leads. 
Comedy  &  Emotional  Parts. 

DISENGAGED. 

Latest  T rade  Show  : 

“  Uncle  Dick’s  Darling.” 
Corns.  :  70,  Goldhurst  Ter¬ 
race,  Hampstead,  N.W.6. 
’Phone  ;  Hampstead  £66. 


D.  R.  OVERALL 
HATSWELL 


JUVENILE. 

Late — Samuelson,  Masters, 
Hardy  Ideal,  etc. 
Cissbury  House,  Auckland 
Road,  Upper  Norwood, 
or  Kinema  Club 
(Regent  2131) 


ERIC  GRAY 


DONALD 

NEVILLE 

JUVENILE. 

Light  Comedy  Lead:  “The 
Bridge.”  Just  finished  with 
B.  G.  Film  Productions. 
NOW  OPEN  TO  OFFERS. 
All  corns.  :  82,  St.  Georges 
Road,  South  Belgravia. 
’Phone  •  Victoria  2316. 


ENA  BEAUMONT. 

Leads  in  “The  Greater  Love,” 
“  The  Golden  Web.”  “  All  the 
Winners,”  “  Patricia  Brent, 
Spinster,”  “Our  Girls  and 
Their  Physique,”  “Settled  in 
Full,”  “  Watching  Eyes,”  etc. 
,!  21,  Breakspears  Road, 
Brockley  S.E  4, 
’Phone  ;  New  Cross  622. 


MARJORIE 

VILLIS. 

Corns.  :  4,  Lyall  Street, 
Eaton  Square,  S.W.l, 
’Phone:  Victoria  974. 


HARRY  J. 
WORTH. 

Playing:  in 

“  A  Sailor  Tramp.” 
Welsh  Pearson. 
Offers  invited  to  follow. 
'Phone:  Regent  2131, 


IRENEE  CRAVEN 

LEADS. 

Dignified,  Social, 
Sporting  characters. 
Three  years’  experience. 
Address :  49a,  Clanricarde 

Gardens,  Bayswater.  W.2. 
’Phone  :  Park  1622. 


WALTER  FORDE 

Comedian. 

ZODIAC  FILMS, 
LTD. 

All  corns.  :  —  c/o  Motion 
Picture  Studio. 


C.  TILSON- 
CHOWNE 

LEADS. 

Stoll,  Broadwest,  Alliance. 
Screen  Plays,  Samuelson, 
Masters,  Ideal,  etc 
Address  : — 21,  We  tbourne 
Street,  W.2. 

’Phone  :  Paddington  641 


NANCY 

SIMPSON 


Care  of 
Kinema  Club. 


JOHN  STUART. 

JUVENILE  LEADS. 
Broadwest,  Screen  Plays, 
Glen,  Masters. 

Latest  Productions  : 
“Sinister  Street,”  1  T  ,  , 

“The  Little  Mother,”  f  ldeal‘ 
33,  Acacia  Road  St.  John’s 
Wood,  N.W.8. 


MARY  ODETTE 

Just  concluded  : 

“The  Faithful  Heart”  and 
“Windows  ” 
(Comedy  Theatre) 
Latest  Releases  : 

“Wonderful  Year,” 

“All  Roads  Lead  to  Calvary.’ 
All  corns.  :  Sidney  Jay, 

181,  Wardour  Street. 
Regent  4329. 


ROSINA 
WRIGHT, 

Fatnous-Lasky,  Stoll,  Lon¬ 
don.  Samuelson,  Davidson, 
Ideal,  Broadwest,  etc. 

7  years  Film  Experience. 
8a,  GOLDERS  WAY, 
GOLDERS  GREEN,  N.W.l. 
L^T  I  or  Kinema  Club. 


JACK  JARMAN 

Juvenile,  Heavies  and 
Comedy. 

London,  Samuelson,  Broad¬ 
west,  Masters,  Stoll. 

161,  Wymering  Mansions, 
Maida  Vale,  W.  9. 
’Phone  :  Paddington  4428. 


EVELYN 
BRENT 


Leads  in 


ustralian  Productions. 
All  corns. : 

.2,  STANS  FIELD  ROAD 


as  the  Idiot  in 
“  Four  Men  in  a  Van.” 


Latest  Productions, 

“  Demos,”  “  Sonia,” 

“  Laughter  and  Tears,”  etc 
At  present,  Famous  P.-L. 
Bus.  Corns.,  Sidney  Jay, 
181,  Wardour  Street,  W.l 
Regent  4b29. 


? 


June  24,  1922 


THE  MOTION  PICTURE  STUDIO 


ARTISTES 


“  THE  LITTLE 
BROTHER  OF 
GOD  ” 

Featuring 

VARIES,  A  MI  EL, 
NICKAWA 
as  Jean  Marie. 
(Stoll). 

Swimmer  and  Horseman. 
Reference  : 

Colonel  W.  F.  Cody 
(Buffalo  Bill). 

Address  : 

60,  Godolphin  Road, 
Shepherd’s  Bush,  W.12. 


M.A.WETHERELL 

LEAD, 

African  Film  Productions. 
LEAD, 
STOLLS. 

All  corns. : 

FRANK  ZEITLING, 

3.  Great  Windmill  Street, 

W.l. 


FRED  WRIGHT. 

The  Crazy  Hunchback 
in  the  colour  film 
‘‘The  Glorious  Adventure,” 
Covent  Garden  Theatre. 
THE  COPSE, 
WEST  DRAYTON, 
'Phone ;  Yiewsley  82,  or 
Kinema  Club. 


DAISY  BURRELL 

Just  finished  playing  lead  in 
‘‘Cinderella  ’’  panto. 

Last  Film  :  Star  part  in 
“  Pride  of  the  Fancy.  ’ 

OPEN  TO  OFFERS. 
39,  Avonmore  Road, 

West  Kensington. 
’Phone:  Western  675. 


LILIAN 

HALL  DAVIS. 

JUVENILE  LEADS. 
Samuelson,  Ideal,  Gra¬ 
ham  Wilcox,  etc.,  etc. 
All  corns.  :  Sidney  Jay, 
181,  Wardour  St.,  W.l. 
Regent  4329. 


LEIGH 

GOODE 

Just  compl  ted  light  juv. 
B.  G.  Productions. 

All  corns.  : 

‘The  Wigwam,’’  Thames 
Ditton  Island,  Surrey. 


EVA  LLEWELLYN, 

Mother  and  Character  parts. 
London:  Stoll,  British  Actors' 
B&C  Barkers,  Samuelson, 
Gaumont’s, 

Aunt  Martha  in  “  A  Kay  of  Sun¬ 
shine,"  Hagar  in  "81,.  Elmo,” 
Miss  Fairley  in  “  Mord  Em’ly  ’■ 
(Welsh  Pearson),  "Mrs.  Willow 
Weeps, "Walter  Forde  Comedies 
39.  GLOUCESTER  GDN8..W.2. 
’Phone  494  Padd..  and  at  the 
Kinema  Club.  Regent  2131. 


THE  L  M  A 
MURRAY 

Character  &  Emotional  parts 
Just  finished  work  in  “Crea¬ 
tion  lor  Raleigh  King  Films 
now  playing  lead  for  Masters. 
All  corns  :  “LYNl.'ALE  ’’ 
OAKLEY  RD.  ’ 
WHYTELE4FE,  ‘WRREY, 
or  to  the  Kinema  Club. 

DOUGLAS 

29.  Arragon  Gardens,  Streatham,  S.W.  1. 


ARTISTES  . 


JACK 

SELFRIDGE 

Juvenile  and  Character 
Leads. 

Late  Turner,  Edison, 
Samuelson,  Master,  Stoll 
Film  Co.,  etc.,  etc. 

All  communications  to — 
Motion  Picture  Studio 


MOIRA 

VERNEY. 


“AN  ENGLISH 
VENUS.’’ 

Gaumont,  F.  P.-Lasky, 
Masters,  Phillips, 
Figure  Special. 

All  corns.  : 

c  to  MOTION  PICTURE 
STUDIO. 


ARTHUR  PUSEY. 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagoon’’  for  I.V.T.A. 

411  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l  . 


CHARLES  LEVEY 

15,  STOKENCHURCH  STREET, 
FULHAM,  S.W. 6., 

or  KINEMA  CLUB. 

LYDIA  HAYWARD, 

Part  Author  of  original  story, 

“  Monty  Works  the  Wires.” 

Adapting  Stories  by  W.  W.  Jacobs  for  Artistic  Films  : 

“  A  Will  and  a  Way,’’  “Sam’s  Boy,”  “  Head  of  the 
Family”  (Artistic),  Adapter  of  “.Bachelor’s  Baby” 
(Davidson). 

Address:  KINEMA  CLUB. 


WILFRED  S.  STANFORD. 

Offers  invited.  20  years  experience— Legitimate  and 
Vaudevil  e  Stages  and  Screen.  Jew,  Character  and 
Foreign  Parts.  Corns:  Playgoets’  Club  (Regent  1265 
or  Kinema  Club). 

F  .  C  R  E  M  L  I  N  . 

5,  Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club 

CAMERAMEN.  .  .  . 

JOHN  J.  COX 

“Four  Feathers,1’  ‘‘Broken  Road,” 

“  Romance  of  Wastdale,”  etc. 

LATEST : 

••  Dick  Turpin  ”  for  Stoll  Picture  Productions,  Ltd  , 

44,  BARROWGATE  ROAD.  CHISWICK.  W.4. 
’Phone — Chiswick  294. 


CAMERAMEN  .  .  . 

ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN- 
SCIENTIFIC  ::  OUTFIT. 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  Street,  W.C.2. 

’Phone — Regent  2131. 


GEOFFREY  BARKAS 

IDEAL  FILMS,  LTD. 

Address— IDEAL  STUDIOS, 

Boreham  Wood,  Herts. 

!..  G.  E  GROT 

EXPERT  CAMERAMAN. 

“  The  Better  ’Ole  ”  etc.,  “  Her  Benny  ’’  etc., 
“  Land  of  My  Fathers.’’ 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W. 2. 

’Phone:  Streatham  3085. 

HORACE  M.  WHEDDON, 

IDEAL  FILMS,  LTD. 
Private  Address  :  - 

“  LYNTON  HOUSE,” 

BOREHAM  WOOD,  HERTS. 

WALTER  BLAKELEY 

Cameraman. 

Direction  F.  L  GRANVILLE. 
Starring  Peggy  Hyland. 


DIRECTORS 


EDWARD  D.  ROBERTS 

Completed  “The  Cause  of  all  the  Trouble’’ 
for  Albanian  Films. 

“  Clever  and  Amusin  —  The  Cinema. 
NOW  OPEN  TO  OFFERS, 
c/o  Max  Roma, 

3,  Wardour  Street,  W. 


RALPH  C.  WELLS 

Assistant  Director  to  Fred  Le  Roy  Granville, 
at  present  in  Trip  -  li  directing 

“THE  PRICE  OF  SILENCE’’ 
(origiral  Story  by  Ralph  C.  Wells) 


BERT  WYNNE, 

Director, 

SEAL  FILM  COMPANY. 


GEOFFREY  H.  MALINS, 

O.B.E. 

Open  to  Engagement. 

Producer.  Latest  Productions  : 

“The  Greater  Love,”  “Patricia  Brent,  Spinster,” 
“Settled  in  Full.’  “  All  the  Winners,”  “Watching 
Eyes,”  “Bluff,”  “The  Recoil,”  “  The  Scourge,”  etc. 

All  corns.  :  Kinema  Club,  9,  Gt.  Newport  St.,  W.C  2. 
Regent  2131. 

FOREIGN  OFFERS  INVITED. 


3 


THE  MOTION  PICTURE  STUDIO 


June  24,  1922 


WHO’S  WHERE. 

Several  directors  nave  explained  to  us 
the  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 

ATWOOD,  ALBAN :  25,  Stanley  Crescent 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 

S  W.11.  Battersea  21. 

BOSCO,  WALLACE,  97.  Kingsway,  East 
Sheen,  S.W.  14. 

BROOK,  CLIVE:  “The  Cosy  Corner” 
Houseboat,  opposite  Hampton  Court 
Pa  ace,  East  M  lesey. 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

DOUGLAS  ,  ERNEST  A.:  12,  Sunnyside 

Road,  Ealing,  W.5. 

ESMOND,  ANNIE ;  43,  Richmond  Road, 
Westbomne  Grove,  W.2.  Park  854. 

FORD,  BERT  :  19,  W’yke  Gardens,  Stock- 
well,  London.  S.W. 9. 

FANE,  DOROTHY  :  12A,  Sloane  Gate 

Mansions,  S.W.r.  Victoria  5225. 

GRACE,  ADELAIDE.  103,  Morshead  Man¬ 
si  ns,  Maida  Vale,  W.9. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 

LE  BRETON,  FLORA  :  care  of  Kinema 
Club,  9,  Gt.  Newport  St.  Reg.  2131. 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns., 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Pleathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  4,  Northwick 
Terrace,  St.  John’s  Wood  Road,  N.W.  8, 

NICPIOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Stn  atham  264. 

RAYMOND,  JACK:  53,  Coldharbour  Lane, 
Camberwell,  S.E.5. 

RAYNER,  MINNIE:  King-water  Cottage, 
Churc  1  Walk,  Thames  Ditton. 

ROME,  STEWART  :  10,  Chisholme  Road, 
Richmond,  Surrey. 

SEARLE  DONALD:  all  corns.  Kinema  Club, 
Regent  2123. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL  :  62,  Upper 

Richmond  Road,  East  Putney,  S.W.  15, 
or  Kinema  Club. 

STEERMAN  A.  HARDING  :  56  Portland 
Road,  W.i  1.  Park  2529. 

STERROLD,  GERTRUDE:  14,  Queen’s 
Road.  St.  John’s  Wood,  N.W.8. 

TREE,  MADGE  :  15,  Lancaster  Court,  New- 
man  St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Road 
Barnes,  S.W.  13.  Putney  1945. 

WALCOTT,  ARTHUR  :  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  2131. 
Two  lines ,  12s.  6d.  per  thirteen  insertions, 
or  £ 2  5s.  for  a  year,  prepaid. 

Extra  lines,  is.  per  insertion. 


SCENARISTS.  .  .  . 

GERALD  DE  BEAUREPA1RE. 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 

KINCHEN  WOOD, 

Scenarist, 

Late  Stoll  and  Wm.  Fox  Studios,  Los  Angeles. 
Address  : 

7,  WYMERING  MANSIONS. 
ELGIN  AVENUE,  MAIDA  VALE.  W. 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 
“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M'LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.I. 

’Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  2131. 


TO  LET 

for  long  or  short  periods, 
fully  equipped  STUDIO  and 
WORKS,  within  half-an-hour 
of  West  End.  For  fullest 
particulars  and  terms  apply  : 

J.  LLOYD, 

9,  South  Molton  St,,  W.I. 

’Phone:  Mayf  ir  1011. 


FOR  SALE — Williamson  Camera  and 
Tripod,  Brand  New,  330-ft.  Film 
Boxes,  Two  Speed,  Reverse  Film 
Measurer  and  Punch,  Cooke  Lens, 
Tripod,  Revolving  and  Tilting  Head, 
£39.  Sacrifice.  Ray,  36,  Beach  Road, 
Weston-Super-Mare. 

COSTUMIER. .  .  . 

Consult  .  .  . 

W.  CLARKSON. 

THE  COSTUMIER 

41  &  43,  Wardour  Street,  W 

’Phene;  Gerrard  612. 


KENELM 

FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW 

YORK  CITY. 

70  ALL 

FILM  PRODUCERS. 

Make  Your  Film  a 
Success  by  Hiring 
Your  Costumes  from 

M.  BERMAN, 

18,  GREEN  STREET, 
LEICESTER  SQUARE,  W. 

Tel.  :  REGENT  5  7  26. 

For  Special  Films 
we  make  Costumes 
to  Order  for  Hire. 

COSTUMIERS  TO  ALL  LONDON 
AND  PROVINCIAL  THEATRES, 


Do  you  use 

LE1CHNERS 

Grease-paints, 
Powders,  etc. 


Acknowledged  the  best 
in  the  World  for  film 
work. 

Easy  to  work. 
Uniform  in  colour. 

Ask  for  it  at  any  chemist 
or  costumier 


If  y  ou  have  any  difficulty 
in  obtaining  same  apply 
direct  to  the  sole  British 
Agents 

Vanities  Ltd  , 

15a,  Whitcomb  St.,  Pall  Mall  East  W.C. 

( Off  Leicester  Square), 

Everything  for  make-up  in  Stock. 
Catalogues  on  application . 


4 


June  24,  1922 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93,  Long  Acre, 
London,  W.C.2. 

Vol.  2  No.  55 


Telegrams — 
Southernwood, 
Rand,  London. 
Telephone — 
Gerrard  9870. 

June  24,  1922 


Country  of  Origin." 

jTLSEWHERE  in  this  issue  “  Mega- 
'Ll '  phone  ”  announces  that  Will  Day 
is  to  exhibit  his  unique  collection  of  kine- 
matograph  instruments  at  the  Victoria  and 
Albert  Museum.  There  is  no  doubt  that 
this  will  cause  considerable  interest  both 
among  the  general  public  and  members  of 
the  Trade.  But  in  our  opinion  this  is  not 
enough.  J  his  collection  represents  the 
life  work  of  a  veteran  of  the  Film  Industry 
and  it  is  of  national  value.  We  consider 
that  this  collection  should  be  retained  by 
the  State  as  a  national  collection.  There 
is,  we  gather,  a  danger  of  this  collection 
going  out  of  the  country.  We  are  not 
surprised,  because  it  is  the  chief  proof  that 
kinematography  was  invented  in  this 
country,  and  as  the  art  of  kinematography 
has  gone  to  America,  it  is  only  natural  that 
the  proof  of  its  British  origin  should  dis¬ 
appear  in  the  same  direction.  Already 
Mr.  Day  has  received  substantial  offers 
from  the  Other  Side,  and  anyone  but  Will 
Day  would  have  unhesitatingly  closed  with 
these  offers  ;  but  he  feels — and  rightly  so — 
that  this  collection  is  a  national  heritage,  and 
as  such  should  remain  in  the  possession  of 
the  country  of  the  origin  of  kinematography. 
What  is  the  Industry  going  to  do  about 


few 

was 


it? 


A  School  for  Scenarists. 

YY/HILE  he  was  in  this  country  a 
vv  days  ago  Jesse  Lasky  said  he 
seriously  considering  the  establishment  of 
a  school  for  film  writers  at  his  Islington 
studios.  That  would  be  one  of  the  finest 
things  he  has  done  for  the  Industry.  Not 
that  we  construe  his  suggestion  to  mean 
that  such  a  school  would  do  for  scenarists 
what  the  “  schools  ”  of  acting  do  for 
artistes  :  we  cannot  imagine  that  Mr. 
Lasky  has  in  mind  the  establishment  of  a 
school  that  would  take  fees  for  teaching  a 
few  elementary  principles  of  scenario 
writing  from  amateur  writers  who  would 
then  be  flung  on  to  a  market  already 
glutted  with  half-fledged  scenarists  who 
stand  in  the  way  of  the  skilled  craftsman. 
The  literary  department  of  film  production 
is  the  basis  of  every  film  that  is  now  being 
made  ;  if  it  is  defective,  then  no  amount  of 
good  acting,  skilful  direction  or  expert 
photography  can  bring  forth  a  good  film. 
If,  however,  Mr.  Lasky’s  plan  is  to  establish 
a  school  where  the  intricate  science  of 
scenario  writing  is  thoroughly  taught,  then 
we  hope  that  he  will  hasten  the  day. 
Original  stories,  new  material,  fresh  angles 
are  badly  needed,  and  there  is  every  reason 
to  believe  that  in  the  brains  of  the  skilled 


scenarist  these  can  be  evolved.  Nor 
would  Mr.  Lasky  be  creating  a  precedent, 
for  already  the  University  of  New  York 

has  a  special  course  of  film  writing. 

*  *  * 

Americanised  Methods. 

QNE  of  the  Crowd  ”  wrote  for  the 
Star  a  descriptive  report  of  the 
big  scenes  which  Maurice  Tourneur  staged 
in  Trafalgar  Square  the  other  night.  We 
reproduce  the  following  extracts  : — “  There 
were  men,  women  and  children  there. 
Few  had  overcoats.  Many  of  the  women 
had  drawn  shawls  over  their  heads  ;  others 


-O* -O  <?■  £7*  £ 


Don't  get  cold  feet,  is 
H  arry  Millarde's  injunc¬ 
tion  to  British  film  folk. 

And  he's  right  to  give 
such  a  warning. 

Cold  feet  won't  get 
you  far  in  the  race  of 
life.  To  get  the  wind 
up  is  a  sure  sign  of  moral 
cowardice  and  a  lack  of 
self-confidence.  The 
funky  m  n  never  suc¬ 
ceeds  in  scaring  anyone 
but  himself. 

There’s  a  better  time 
coming.  That’s  certain. 

But  cold  feet,  quaking 
hearts,  and  tremulous 
tones  will  only  help  put 
the  hands  of  the  clock 
back. 

had  no  headdress  of  any  sort,  and  their 
blouses  and  skirts  seemed  to  be  too 
diaphanous  for  a  night  in  the  open.  .  .  . 
The  ram  pelted  down  mercilessly  and  with¬ 
out  cessation,  so  that  the  sight  of  men 
without  overcoats  and  women  wearing 
only  thin  dresses  was  a  pitiable  thing.  It 
was  cold,  too,  and  many  of  the  crowd  were 
beginning  to  grow  stiff  through  standing 
about.  .  .  .  And  the  crowd  stood  in  all  the 
rain  until  most  of  them  were  soaked  to  the 
skin.  ...  It  had  now  passed  4  a.m.,  and 
the  ram  still  pouring  down.  There  was 
nowhere  for  the  shivering  crowd  to  sit 
down.  Everywhere  there  was  water.  To 
get  food  or  warm  drinks  was  impossible. 

I  .  .  .  We  were  marched  down  Northumber¬ 
land  Avenue  and  then  along  the  Embank- 
!  ment  in  the  direction  of  the  Houses  of 
Parliament.  Men,  women  and  children, 


we  looked  a  sad,  sorry  and  bedraggled 
mob.  ...  I  asked,  in  all  innocence,  if  the 
ram  would  not  spoil  the  picture.  Not  a 
bit  of  it  ;  it  will  be  brilliant.  A  weary, 
miserable  crowd  was  wanted,  and  it  is  one, 

was  the  reply.” 

*  *  * 

Sweated  Labour. 

|  'HERE  was  no  attempt  in  this  article 
to  point  any  moral  or  draw  any 
conclusions.  ”  One  of  the  Crowd  did 
not  dare.  But  we  consider  it  our  duty  to 
finish  this  article  for  “  One  of  the  Crowd. 
And  in  no  mild  terms  we  wish  to  express 
strong  disapproval  of  the  methods  of 
Maurice  Tourneur  in  connection  with 
these  Trafalgar  Square  scenes.  Men, 
women  and  children,  soaked  with  ram,  stiff 
with  cold,  a  pitiable  sight —  a  weary, 
miserable  crowd  was  wanted,  was  the 
callous  explanation  given.  These  poor 
devils  Waited,  worked  and  walked  in  slush 
and  rain  from  midnight  to  five  in  the  morning, 
and  received  for  remuneration  the  miserable 
pittance  of  —  fifteen  shillings  !  This 
journal  welcomes  the  big  American  directors 
to  this  country  on  the  assumption  that 
their  presence  is  good  for  the  British  pro¬ 
fession,  but  if  this  kind  of  thing  is 
typical,  then  we  would  prefer  to  struggle  on 
without  the  inspiration  of  such  brilliant 
directors.  We  admire  Mr.  Tourneur  s 
search  for  realism,  but  he  must  know 
that  realism  cannot  be  purchased  for 
fifteen  shillings.  If  1 ,500  men,  women 
and  children  are  forced  to  stand  for  five 
hours  throughout  the  night  in  a  deluge  of 
rain  they  must  be  paid  sufficient  to  at  least 
pay  their  fare,  buy  their  food,  cover  the 
cost  of  spoiled  clothes  and  pay  the  doctor  s 

bill  for  the  colds  that  are  inevitable. 

*  *  * 

British  “  Inferiority." 

WRITING  on  the  subject  of  these 

**  Trafalgar  Square  scenes,  Jympson 
Harman,  the  Evening  News  film  editor, 
says  :  “  Those  who  braved  the  downpour  of 
rain  had  an  opportunity  of  appreciating 
one  of  the  reasons  why  British  productions 
are  so  often  inferior  to  American  pictures. 
Mr.  Harman  is  at  liberty  to  think  this.  Our 
view  is  that  if  the  only  way  to  secure 
pictures  as  good  as  America  s  is  by  adopt¬ 
ing  such  methods,  then  we  will  be  content 
to  see  British  productions  remain  as  they 
are.  The  policy  of  American  companies 
who  come  here  to  take  advantage  of  our 
natural  scenery  (gratis)  bring  over  their 
own  leads  and  only  use  British  artistes 
for  crowd  scenes  at  less  than  even  the 
usual  minimum  again  proves  the  necessity 
of  the  Kinema  Artistes’  Federation. 


5 


THE  MOTION  PICTURE  STUDIO 


June  24,  1922 


SCREEN  LITERATURE 

by  COLIN  N.  BENNETT,  F.C.S.,  F.R.P.S, 


For  the  outside  aspirant  there  is  no  great 
promise  of  employment,  or  of  revenue, 
to  be  got  by  adapting  books  to  the  motion 
picture  screen.  This  work  is  generally 
done  “inside.”  And  yet  two  reasons  seem 
to  suggest  that  the  method  of  screen  adapta¬ 
tion  may  be  worth  knowing  and  practising 
by  those  who  feel  they  possess  an  aptitude 
for  the  work.  The  first  reason  is  because 
almost  every  “inside”  man  has  at  some  time 
or  other,  however  long  ago  that  time  may 
be,  been  an  “  outside”  man.  The  second 
reason  is  because  many  book  plots  which 
reach  the  screen  have  suffered  so  grave  a 
mangling  in  the  process  as  to  be  all  but, 
or  even  quite,  unrecognisable.  If  it  be 
true  that,  under  the  law  of  supply  and 
demand,  a  man  who  can  do  a  thing  well 
may  justly  hope,  in  the  long  run,  to  wrest 
work  from  the  man  who  does  it  badly, 
there  must  be  some  ultimate  chance  of  a 
good  scenario  adapter  claiming  recognition 
from  producing  houses,  no  matter  how 
much  “outside”  he  may  be  at  the  start. 

The  first  temperamental  necessity  for  a 
scenarist  of  any  sort  is  to  be  able  to  think 
pictorially,  and  to  see  situations  in  terms 
of  action.  Whether  a  man  can  do  this,  or 
whether  he  cannot,  must  be  determined  in 
the  first  place  by  his  unaided  self.  I  do  not 
know  of  any  quick  rough  and  ready  test  by 
which  discovery  may  be  made  of  the 
presence  or  absence  of  scenario  writing 
ability. 

Supposing  a  man  has  the  right  way  of 
thought,  there  remains  to  him  a  need  of 
some  reasonably  reliable  system  upon  which 
to  undertake  his  task.  Many  a  potentially 
good  man  is  held  up  from  attempting  what 


is  well  within  his  capacity  by  half-hearted 
dopbts  about  the  way  to  make  a  start. 

The  right  way  to  start,  when  called  upon 
to  adapt  a  book  for  the  motion  picture 
screen,  is  to  begin  by  reading  the  first  chap¬ 
ter.  When  the  first  chapter  lias_  been  read, 
it  is  well  not  immediately  to  begin  upon  the 
second  chapter.  Instead,  a  sheet  of  paper 
should  be  taken  and  marked  “Chapter  I.” 
On  this  sheet  make  a  list  of  all  the  im¬ 
portant  characters  so  far  come  upon,  to¬ 
gether  with  brief  notes  upon  the  sort  of 
people  they  seem  to  be,  whether  probably 
likeable  or  the  reverse.  Follow  this  list 
with  a  brief  written  description  of  the  story 
so  far  as  the  chapter  unfolds  it,  adding  your 
opinion  upon  how  you  personally  expect  the 
plot  to  develop  itself  in  the,  as  yet,  unread 
part  of  the  book. 

The  way  is  now  clear  to  tackle  the 
second  chapter,  reading  it  through  first  ana 
proceeding  to  compile  a  similar  list  of 
newly  introduced  characters  and  a  chronicle 
in  short  synopsis  form  of  its  unfoldment 
of  events.  'The  same  thing  is  done  for  every 
succeeding  chapter,  in  turn,  till  the  book 
has  been  read  from  beginning  to  end. 

Now  let  us  put  the  book  aside  and  care¬ 
fully  and  attentively  re-read  the  descriptive 
chapter  synopses  in  the  order  in  which  we 
compiled  them.  If  they  have  been  con¬ 
structed  along  the  suggested  lines  each 
synopsis  will  contain  an  attempt  at  fore¬ 
telling  how  the  further  plot  of  the  book  is 
going  to  work  out.  By  studying  these 
prophecies  attentively  we  can  discover  a 
matter  of  great  importance,  for  we  find  how 
often,  and  how  completely,  the  book  cheats 
our  expectations. 


Some  books  depend  upon  this,  and  upon 
this  alone,  for  whatever  interest  they  may 
possess.  Some  books  have  none  of  it.  In 
the  majority  of  them  there  is  at  least  a 
certain  amount  of  interest  gained  by  the 
“  suspense”  element.  Whatever  that  value 
is,  you  have  placed  yourself  in  a  favourable 
position  for  estimating. 

Another  point  you  will  be  able  to  form  a 
good  estimate  upon  is  how  far  the  book  is 
coherent.  In  some  books,  typically  in  good 
detective  stories,  one  single  undeviating 
theme  runs  through  from  cover  to  cover, 
like  a  Roman  road.  In  other  books,  of 
which  a  classical  instance  would  be  Sterne’s 
“Tristram  Shandy,”  though  the  reading  is 
amusing  enough,  any  connecting  links  hold¬ 
ing  together  the  course  of  events  are  con¬ 
tinually  being  sundered  by  interposition  of 
wholly  irrelevant  matter.  It  is  fairly  well 
recognised  that,  for  dramatic  value,  linking 
up  of  events  going  to  compose  the  web  of  a 
photo-play  plot  must  be  continuous,  or  very 
nearly  continuous. 

Thus,  our  work  already  done  upon  the 
boox  we  wish  to  adapt  to  the  screen  will  be 
quite  enough  to  show  us  if  the  book  plot 
can  stand  of  itself  without  further  support, 
if  it  needs  greatej  coherence  for  screen 
adaptation,  or  if  the  existing  plot  is  such 
that,  in  order  to  use  the  book  title  as  a 
draw,  an  almost  wholly  new  “web”  will 
need  to  be  thought  out  and  worked  in. 

Having  got  so  far  with  our  preliminary 
survey  of  the  story,  we  shall  probably  be 
past  feeling  any  further  sense  of  oppres¬ 
siveness  over  making  a  start  with  the  con¬ 
tinuity.  True,  the  whole  continuity  writ¬ 
ing  still  remains  to  be  done,  but  the  pro¬ 
spect  we  are  facing  is  no  longer  a  formless 
void.  We  yet  have  to  clothe  our  mammoth 
with  flesh,  but  its  skeleton  is  already  before 
us.  For  one  thing,  we  know  how  far  we 
shall  be  able  to  follow  the  book  author. 

If  there  is  any  real  danger  at  this  point  it 
lies  in  a  natural,  though  swollen-headed, 
temptation  to  improve  upon  the  original 
more  than  there  is  a  real  call  to  do.  Many 
are  the  good  book  plots  which  have  been 
sacrificed  in  their  photo-play  version  to  the 
inability  of  a  screen  adaptor  to  leave  well 
alone.  Human  beings,  one  and  all  of  us, 
are  self-opinionated  creatures  possessed  of 
an  insatiable  appetite  for  forcing  our  indi¬ 
vidual  prejudices  down  the  throats  of  other 
folk.  Once  give  us  a  well-known  writer’s 
work  to  maul  and  nothing  but  a  rigid  sense 
of  moral  responsibility  to  its  author  can 
prevent  our  seizing  upon  so  golden  an 
opportunity  of  “making  it  better.” 

The  trouble  is  that  spectators  of  the  screen 
adaptation  will  hardly  be  likely  to  accept 
our  “improvements”  in  a  similar  spirit  of 
satisfaction.  To  the  mere  picturegoer  there 
is  something  little  short  of  insult  in  being  in¬ 
vited  to  a  kinema  to  see  a  screened  version 
of  a  favourite  book,  only  to  be  confronted 
by  a  film  just  near  enough  to  the  book 
story  to  be  a  wretchedly  bad  caricature. 

The  rule,  then,  in  screen  adaptation 
should  ever  be  to  keep  as  close  to  the  book 
as  difference  of  medium  will  permit. 
Another  rule,  following  from  what  has 
already  been  written,  will  be  to  regard  the 
hook,  for  adaptation  purposes,  as  the  main 
book  plot.  If  there  are  subsidiary  plots 
these  may  rightly  be,  and  should  be, 
eliminated.  Or,  where  they  serve  some  im¬ 
portant  purpose  of  contrast  or  relief,  they 
should  be  kept  down  to  a  point  where  they 
not  only  fail  to  compete  in  importance  with 
the  main  plot,  but  where  they  do  not  sen¬ 
sibly  slow  the  main  plot’s  action.  For  in  a 
film,  fairly  quick  action  is  vital. 

When  writing  the  continuity  itself,  it  is 
to-day  permissible  to  make  it  considerably 
fuller  than  was  allowed  a  few  years  ago. 
There  was  a  phase  of  continuity  writing 
where  “smartness”  dictated  it  as  necessary 
that  particles,  conjunctions  and  even 
commas  should  he  slashed  out,  and  the 
course  of  events  set  forth  in  a  series  of 
jerky  hyphenated  outbursts.  Seven-eighths 
of  this  was  mere  “swank.”  In  due  time  its 
valuelessness  came  to  be  more  and  more 
seen  through.  It  is  now  quite  in  order  to 
write  the  continuity  of  a  photo-play  scene 
as  you  would  write  stage  directions  for  the 
i  business  of  any  theatrical  scene. 


TO  THE  TEMPLE  OF  SILENCE 

by  F.  E.  ARMSTRONG  (Stoll  Picture  Theatre  Club). 

There  is  a  movement  on  in  favour  of  Speaking  Films,  The  following  is  the  versi  ied 

opinion  of  a  pic/u  egoer. 

THERE’S  Something  in  the  Silence  when  the  noise  Without  is  crushed, 

And  Humming  Life  is  left  behind  ;  and  Senses  are  all  hushed 
Save  Sight  ;  and  she  responsive  asserts  her  Right  as  Queen — 

Interpreting  the  Silence  of  the  Shining  Silver  Screen. 

There’s  Something  in  the  Silence  that’s  Seductive  to  the  Soul, 

That  seems  to  soothe  the  jarring  notes  that  strive  to  wreck  the  whole 
Of  cherished  plans  and  visions,  all  of  which,  well — might  have  been, 

But  for  Silent  Inspiration  of  the  Shining  Silver  Screen. 

There’s  Something  in  the  Silence,  like  the  dusk  of  Temple  Court, 

Where  quietness  is  asked  for  and  clearer  vision  sought, 

And  Inspiration’s  given  and  forgiving  thought  grows  keen 

Through  the  quiet  intervention  of  the  Shining  Silver  Screen. 

This  Something  in  the  Silence,  it  puts  the  Nerves  to  rest, 

Subordinates  severity  and  brings  out  all  that’s  best, 

And  Sympathy  displaces  scorn  and  Charity  is  seen 

Suggested  by  the  Silence  of  the  Shining  Silver  Screen. 

There’s  Something  in  the  Silence  that  makes  you  think,  and  pause  ; 

And  fascinated,  figure  out  Inexorable  Laws, 

For  Life  is  real  and  earnest,  and  often  what  is  seen 

Is  Life  itself  but  mirrored  in  the  Shining  Silver  Screen. 

There’s  Something  all  compelling  in  this  Silence  that  Enshrouds 
1  hat  lifts  the  Mists  obscuring,  the  Fogs  that  oft  becloud 
Our  Resolutions  Ambit,  and  they  fain  would  lie  between, 

But  you  set  Life’s  facts  in  sequence,  in  the  Silence  of  the  Screen. 

So  leave  us  please  to  Silence,  Save  music  at  its  best, 

If  sound  is  sought  to  Synchronise,  its  sure  Good-bye  to  Rest, 

And  1  for  one  will  cease  to  come,  the  Day  that  Noise  is  seen 
Do  overthrow  the  Temple  of  the  Silent  Silver  Screen. 


6 


June  24,  1922 


THE  MOTION  PICTURE  STUDIO 


IntimaJe  Studio  Qossip 


I  am  asked  to  explain  the  position 
with  regard  to  Flora  Le  Breton  and 
Ideal.  The  facts  appear  to  show  that 
Miss  Le  Breton  was.  engaged  by  Ideal 
for  the  part  of  Sidney  Fairchild  in 
“  A  Bill  of  Divorcement,”  and  Ideal 
sent  out  Press  publicity  to  this  effect. 
Later  Ideal  explained  to  Miss:  Le 
Breton  that  before  she  had  been 
engaged  its  American  agent  had  com¬ 
menced  negotiations  with  Constance 
Binney  and  these  had  since  developed, 
and  that  Miss:  Binney  was  on  her  way 
over.  Ideal  asked  Miss  Le  Breton  to 
step  aside.  The  A, A.  dealt  with  the 
matter,  and  the  result  is  that  Ideal  is 
meeting  Miss  Le  Breton  very  fairly, 
making  Press  announcements  to  this 
effect:  and  promising  her  a  part  in  a 
later  production.  Meanwhile  she  is 
at  Gaumont  Studio  playing  lead  with 
Carpientier  in  “  Love’s  April,”  the  new 
Blackton  picture. 

By  the  way,  I  went  to  Shepherd’s 
Bush  last  Tuesday  to  see  Stuart 
Blackton  on  his  first  shots  in  “  Love’s 
April.”  I  was  introduced  to  a  tall 
young  fellow  and  was  pleasantly  sur¬ 
prised  toi  learn  that  this  was  Car- 
pentier.  Later  I  saw  him  before  the 
camera  with  Flora  Le  Breton,  and  was 
favourably  impressed  with  his  him 
style.  While  obviously  handicapped 
by  lack  of  knowledge  of  our  language 
it  was  easy  to  see  that  he  has  a 
natural  film  manner  and  a  ready 
grasp  of  the  requirements  of  the 
director.  The  costumes,  incidentally, 
are  a  triumph  for  Willie  Clarkson. 

Thanks  to'  Will  Day,  of  Lisle  Street, 
the  British  people  can  assure  them¬ 
selves  that  kinematography  is  an 
English  invention.  Mr.  Day’s  life 
work  has  been  to  collect  every  form  of 
instrument  which  has  been  used  or 
experimented  with  in  this  connection, 
and  these  are  to  bei  installed  in  the 
.Science  Department  of  the  Victoria 
and  Albert  Museum.  Mr.  Day  is  in  a 
position  to:  prove  both  with  practical 
demonstration,  and  with  the  aid  of  a 
wonderful  bibliography  which  he  has 
collected,  thar.  with  the  single 
exception  of  lens  grinding,  all  the  in¬ 
ventions  in  kuiumatography,  both  the 
instrument  anu  the  film  itself,  are 
English  in  origin.  He  can  show  the 
first  film  evci  made  and  the  first 
machines  ever  used,  the  lantern,  the 
illuminating  of  which  was  a  tallow 
candle,  and  which  threw  pictures  on 
the  screen  of  the  procession  of 


George  III.  Mr.  Day  has  the  original  | 
lantern  slides  of  1760,  which  are  some 
two:  feet  in  length  and  three  inches 
wide,  on  which  are  beautifully  painted 
the  processional  pictures  in  gorgeous 
colours. 

Jt  is  a  striking  'coincidence  that  the 
week  that  saw  the  Trade  showing 
of  “  Uncle  Dick’s  Darling’  also  sees 
the  return  of  the  star  of  that  film— 
Athalie  Davis — to  studio'  work.  Miss 
Davis,  who  is  still  on  the  sunny  side 
of  twenty,  is,  nevertheless,  quite  a 
veteran  in  film  work.  Her  experience 
goes  right  back  to  the  old  London 
Film:  days,  and  she  is  well  known  to 
most  of  the  leading  directors  whose 
association  with  the  profession  is  net 
of  recent  growth.  Athalie  Davis,  it 
will  be  remembered,  starred  in  several 
Oif  the  productions  of  two  years  ago., 
including  “  Barnaby  ”  and  “  Master  of 
Grey.”  More  recently  she:  played 
second  lead  in  “  The  Twelve  Pound 
Look  ”  for  Ideal,  since  when  she 
played  with  W.  H.  Berry  in  “  Golden 
Moth  ”  at  the  Adelphi.  She  has  now 
definitely  decided  to  settle  down  to  film 
work  again. 

I  am  able  to  announce  that  G.  B. 

Samuielson  has  arranged  a  contract 
to  produce  100  films  in  ten  years  for 
British  Super  Films,  Ltd.,  a  ^50,000 
concern  in  which  Sir  Win.  Jury  is 
interested.  The  films  are  to.  be  made 
ait  the  rate  of  ten  a  year  over  a,  period 
of  ten  years.  Adaptations  of  success¬ 
ful  London  plays  will  form  the  bulk 
of  the  first  year’s  output.  Of  these, 
three  are  already  completed  :  “  Stable 
Companions,”  “  Brown  Sugar  ”  and 
”  The  Faithful  Heart.’’  The  two 
latter  will  be  Trade  shown  on  July  19 
and  August  2  respectively.  Now  in 
course  of  production  at  Isleworth  is  a 
version  of  “  If  Four  Walls  Told.” 

Decently  I  saw  a  British  film  and  was 
forced  to  marvel  at  the  fact  that  in 
many  cases  the  lips  of  the  actors  and 
actresses  came  cut  very  dark  or  even 
black  and  that  also  the  flesh  of  the 
crowd  looked  unnatural  at  times.  In 
most  cases  this  is:  caused,  I  think,  by 
the  artistes  making-up  with  wrong 
j  shades  of  grease  paint.  This  could  be 
easily  prevented  if  only  the  producing 
firms  stocked  and  sold  to  their  artistes 
grease  paint  of  the  proper  colour  and 
insisted  upon  them  using  it.  Many 

,  supers  make  up  as  for  the  stage, 

1  using  rouge  and  carmine  which  every 


phoitograhiper  knows  comes  out  black 
in  the  photo.  If  the  picture  is  to  look 
uniform  it  is  necessary  to  have  a 
grease  paint  the  colour  of  which  never 
\  aries.  I  he  one  that  can  be  most 
relied  upon  to.  do  this,  in  my  opinion, 
is  the  universally  known  Leichner’s, 
which  has  been  a  sine  qua  non  in  the 
theatrical  world  for  a  generation,  and 
I  learn  that  this  is  now  on  the 
English  market  owing1  to  the  enter¬ 
prise  of  ex-British  officers. 

[n  a  recent  issue  we  published  an 
article  by  Sidney  Jay  and  to  this 
the  Encore  refers  under  the  heading 
‘‘Calling  the  Kettle  Black.’’  The 
writer  says  :  ‘‘1  noticed  a  com¬ 

plaint  this  week  in  a  Trade  paper 
from  a  film  agent  whoi  gave, 
as  a  reason  for  bad  productions 
the  extraordinary  people:  whose  names 
find  their  way  on  to  the  film  after  the 
words  ‘  directed  by.’  I  am  in 
sympathy  with  the  complaint  to'  an 
extent,  but  I  am  inclined  to'  think  that 
even  an  office  clerk,  if  he  has  brains, 
would  be  as  suitable  a  director  as  an 
ex-music  hall  juggler,  though,  no 
doubt,  a  successful  one,  would  be  an 
efficient  ‘  caster.’  ”  Then  there  is  hope 
for  “  even  an  office  clerk,’’  for  no  one 
disputes  Sid’s  success. 

Decently  this  journal  urged  Mr.  New- 
bould  to:  take  some  steps,  to  press 
the:  Government  to  reduce  the  duty  on 
imported  films,  and  last  week  Mr. 
Newbould  questioned  the  Chancellor 
on  the  matter.  He  put  up  such  a 
good  fight  that  the  Chancellor 
admitted  that  he  was  impressed  by  our 
case  and  would  go  thoroughly  into  the 
matter.  He  declared  that  if  there  \ws 
a  case  in  which  it  was  shown  that  the 
whole,  production  of  a  film  was  British, 
although  it  was  taken  abroad,  then 
undoubtedly  it  might  be  a  case  for 
alleviation.  In  such  circumstances 
there  would  be  no.  desire  on  the  part  of 
the  Government  to  exact  the  duty  as 
if  it  were  the  production  of  a  foreign 
firm.  The  spirit  of  the  clause  was  not 
to  entrap'  the  British  producer  or  do 
anything  that  would  be  detrimental  to 
the  encouragement  of  the  British  pro¬ 
duction  of  films,  but  only  to  exact 
I  duty  from  the  foreign  producer. 


7 


THE  MOTION  PICTURE  STUDIO 


June  24,  1922 


nrHINGS  have  been  just  about  as  rotten  as  tbey  could  be  in  tbe 

British  motion  picture  producing  field.  Now  tbey  are  just 
beginning  to  mend.  And  to  tbe  student  of  current  events  it  bas  long  been 
apparent  tbat  any  change  for  tbe  better  would  be  tbe  resultant  effect  of 
a  strong  fight  for  improvement  by  those  within  tbe  business ;  i.e.,  tbat 
“salvation”  from  without  was  dependent  upon  a  “change  of  heart” 
within.  This  “change  of  heart”  was  a  nore  ready  application  to  the 
work  of  film  manufacture  and  a  willingness  to  regard  the  work  seriously 
by  all  concerned. 

HTHIS  “change  of  heart”  we  have  preached  in  this  journal  for  over  a  year. 

But  that  is  not  all.  The  M.P.  STUDIO  has  worked  and  fought  for 
the  betterment  of  conditions  and  the  improvement  of  the  industry 
generally,  No  one  knows  that  better  than  those  engaged  in  film 
production.  The  Manchester  Guardian  says  that  this  journal  is  the 
industry’s  “best  friend.”  And  that  is  what  we  always  want  to  be. 

T)UT  now  look  at  it  from  our  point  of  view.  We  want  to  remain 
^  your  “best  friend.”  We  want  to  encourage  you  in  the  dark  times. 
We  want  to  work  for  you;  to  plead  for  you;  to  fight  for  you.  But 
we  cannot  unless  you,  who  are  the  ones  to  benefit  by  our  fighting 
will  rally  round  and  support  us.  You  can  do  this  best  by  being  a 
regular  subscriber  to  the  paper,  urging  your  acquaintances  to  do  ditto,  and 
by  making  use  of  our  advertising  pages.  Help  us  to  help  you. 
Support  the  Fighter. 

Y\7E  make  no  apology  for  addressing  this  announcement  to  those  in 
the  film  producing  business,  because  we  feel  that  we  have  a  right 
to  expect  from  every  person  who  derives  benefit  from  the  policy  this 
journal  has  followed  whole-hearted  support.  The  M.P.  STUDIO  is  read 
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from  all  sides  we  are  continually  receiving  expressions  of  gratitude  for 
the  policy  that  we  have  followed.  It  stands  lor  all  that  is  best  and  highest 
in  British  Film  manufacture.  To  that  end  it  will  always  be  the  aggressive 
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have  every  ounce  of  support  possible.  Help  us  to  help  you.  Support 
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8 


June  24,  1922 


THE  MOTION  PICTURE  STUDIO 


ZoA&Aa,  t/uz/f  <xAJi  and- — -  — 

- •eoAcCt  &VU(  extut  -clcrcmq 


William  Luff  plays  with  Carpentier  in 
“Love’s  April.” 

Bert  Ford  is  turning  on  “  Pages  from 
Life  ”  (Adelqui  Millar). 

J.  Stuart  Blackton  has  started  on  the 
direction  of  “Love’s  April.” 

Fay  Compton  is  playing  a  leading  role  in 
f‘A  Bill  of  Divorcement  ”  for  Ideal. 

Jack  Trevor  is  playing  in  “Pages  of 
Life,”  for  Adelqui  Millar  Productions. 

Nell  St.  John  Montague  is  playing  in  the 
J.  Stuart  Blackton  film,  “Love’s  April.” 

Flora  Le  Breton  plays  lead  in  “  Love’s 
April,”  for  J.  Stuart  Blackton  Productions. 

Hubert  Carter  is  appearing  in  “Love’s 
April,”  for  J.  Stuart  Blackton  Productions 

Henry  Victor  is  the  leading  man  in  the 
new  Ideal  film  entitled  “A  Bill  of  Divorce¬ 
ment.” 

Fred  Paul  is  directing  the  screen  version 
of  “  Brown  Sugar  ”  for  British  Super  Pro¬ 
ductions. 

Maurice  Torneur  has  returned  to  America 
after  filming  the  exteriors  of  “  The 
Christian.” 

Gertrude  Sterroll  is  playing  Lady  Main- 
waring  in  the  Adelqui  Millar  production  of 
“Pages  from  Life.” 

Mary  Clare  has  an  important  role  in 
“Love’s  April,”  which  is  being  directed 
by  J.  Stuart  Blackton. 

Humberston  Wright  has  now  completed 
“Creation,”  and  the  Watcombe  Hall 
Sthdios  are  now  vacant. 

Georges  Carpentier  has  arrived  from 
Paris  to  play  lead  in  “Love’s  April,”  for 
J.  Stuart  Blackton  Productions. 


CH ALLIS  N.  SANDERSON 


who  has  been  directing'  Opera  films  for 
Masters. 


Hubert  Carter  is  playing  for  Blackton  in 
“Love’s  April.” 

Rex  Mc-Dougal  has  a  leading  part  in 
“Love’s  April.” 

George  K.  Arthur  was  busy  at  the 
Theatrical  Garden  Party  yesterday. 

Hetta  Barlett  has  been  playing  with 
Jack  Pleasants  in  a  two-reel  comecjy. 

Simeon  Stuart  is  playing  in  “Love’s 
April,”  for  J.  Stuart  Blackton  Productions. 

Lilian  Hall  Davies  is  playing  the  lead  in 
“  Brown  Sugar  ”  for  British  Super  Produc¬ 
tions. 


Artistes  and  others  who  desire  to  have  their 
movements  recorded  in  this  feature,  can  obtai  n 
a  supply  of  postcards  for  this  purpose,  free 
of  charge,  on  application  to  this  office. 


Owen  Nares  is  playing  Lord  Sloane  in 
“  Brown  Sugar  ”  for  British  Super  Produc¬ 
tions. 

Henrietta  Watson  is  taking  the  role  of  the 
Countess  of  Knightsbridge  in  “Brown 
Sugar.” 

Ernest  Munro  lias  finished  playing  in 
“  The  Rabbi  and  The  Priest,”  at  the  Court 
Theatre. 

Sundae  Wilshin  is  with  Adelqui  Millar 
playing  Phyllis  Mainwaring  in  “Pages 
from  Life.  ” 

Norma  Wlialley  has  been  cast  to  appear 
in  “Love’s  April,”  for  J.  Stuart  Blackton 
Productions. 

Muriel  Gregory  was  assisting  Madge 
Titheradge  at  the  Theatrical  Garden  Party 
on  Friday. 

Geoffrey  Malins  is  now  on  the  World 
Flight,  securing  kinematograpli  records  of 
that  event. 

Eric  Grey  is  acting  as  assistant  to  Leslie 
Hescott,  for  the  Tourneur  production  of 
“The  Christian.” 

Malcolm  Tod  is  now  playing  Ralph  Rook- 
wood,  the  hero,  in  “Dick  Turpin’s  Ride  to 
York.”  for  Stoll. 

Alec  Alexander,  jun.,  has  been  playing 
Poor  Joe  in  “Bleak  House,”  with  Sybil 
Thorndike  for  Master. 

Thelma  Murray  is  playing  lead  for  Master 
in  one  of  the  George  R.  Sims  stories,  which 
II.  B.  Parkinson  is  directing. 

Marie  Munro  has  finished  playing  in 
“The  Rabbi  and  The  Priest,”  which  has 
heen  running  at  the  Court  Theatre. 

Thelma  Murray  has  heen  engaged  to  play 
Katherine  Howard,  the  fifth  wife  of  Henry 
VIII.  in  the  B.  and  C.  Historic  films. 

Alec  Alexander,  jun.,  has  heen  engaged 
to  play  the  coster  boy  in  Donald  Crisp’s 
production  of  “Lark  Gate,”  for  Inter¬ 
national. 


Mary  Clare  is  playing  with  Carpentier  in 
“Love’s  April.” 

Freda  Kaye  has  been  playing  in  “Brown 
Sugar,”  for  British  Super. 

R.  McTurner  appears  in  “Pages  of  Life,” 
for  Adelqui  Millar  Productions. 

Charles  Stuart  Blackton  is  appearing  in 
his  father’s  film,  “Love’s  April.” 

,T.  Trevor  is  playing  Lord  Mainwaring  in 
“Pages  from  Life,”  for  Adelqui  Millar. 

Luis  Hidalgo  is  playing  in  “Pages  of 
Life,”  for  Adelqui  Millar  Productions. 

Dardo  da  Mart  is  playing  for  Adelqui 
Millar  Productions  in  “Pages  of  Life.” 

Gertrude  Sterroll  is  playing  in  “Pages 
of  Life,”  for  Adelqui  Millar  Productions. 

Rosina  Wright  has  been  playing  the 
Nurse  in  “Larks  Gate,”  for  International 
Artists. 

Simeon  Stuart  is  playing  an  important 
part  in  the  new  Blackton  production, 
“Love’s  April.” 

J.  Fisher  White  has  now  completed  play¬ 
ing  lead  in  “The  Rabbi  and  The  Priest,” 
at  the  Court  Theatre. 

Evelyn  Brent  plays  the  dual  role  of 
Dolores  and  Mitzi  in  “Pages  of  Life,”  for 
Adelqui  Millar  Productions. 

Eva  Llewellyn  is  playing  Rob  Roy’s 
mother  in  the  Gaumont  film,  and  is  work¬ 
ing  with  Will  Kellino  in  Scotland. 

Graham  Cutts  is  to  direct  another  Graliam- 
Wilcox  xiroduction.  Mae  Marsh,  G.  K. 
Arthur,  Aubrey  Smith  and  Irene  Vanbrugh 
are  in  the  cast.  To  he  made  at  the  Lasky 
Studios. 

Edward  D.  Roberts  has  completed  “The 
Cause  of  All  the  Trouble,”  for  Albanian, 
the  scenario  of  which  he  wrote,  and  is  now 
open  for  offers  which  should  be  addressed 
c.o.,  Max  Roma,  at  3,  Wardour  Street,  W.l. 


HUMBERSTONE  WRIGHT 
who  directed  the  Raleigh  King  success 
“Creation.” 


<• 


9 


THE  MOTION  PICTURE  STUDIO 


Juke  24,  1922 


COURAGE ! 


by  CRYSTABEL 

H  1{)  unfailing  optimism  that  has  dis¬ 
tinguished  members  of  the  profes¬ 
sion  throughout  the  slump  is  showing 
signs  of  giving  way.  Courage  is  wear¬ 
ing  thin.  The  whimpering  note  is  being 
sounded.  Not,  indeed,  by  professionals 
of  the  kinema  w'orld,  but  by  thos<e  who 
hope  to  attain  professional  status,  some 
day.  Some  of  these  one  can  only  pity. 

They  have  been  buoyed  up  by  praise 
from  heads  of  kinema  and  other  schools, 
some  have  been  misled  by  their  own  self¬ 
valuation,  others  by  their  friends,  into 
thinking  that  the  kinema  world  is  yearn¬ 
ing  to  open  its  arms  to  their  new  and 
untried  talent.  Such  people  are  going 
through  a  bad  time,  and  the)’  do  not  care 
who  knows  it. 

In  these  days  when  there  is  insufficient 
work  to  go  round  for  people  of  proved 
talent,  the  Kinema  Schools  are  doing  a 
cruel  thing  in  raising  unfounded  hopes 
in  amateur  breasts  with  any  half  truths. 

Scenario  editors  want  stories — but  they 
want  them  from  people  w'hose  w'ork  is 
known.  Casting  directors  are  looking 
out  for  beauty  and  talent,  but  only  where 
ability  is  proved — not  merely  self-asserted. 
I  have  constantly  found  in  amateur 
dramatic  and  literary  circles  the  belief 
that  any  old  plot  will  do  for  the  films. 
It  will  not — any  more  than  any  old  plot 
fished  out  of  the  “  rejected  MSS.” 
drawer  will  do  for  the  stage. 

The  market  for  magazine  fiction  has 
never  been  so  open  to  unknown  talent 
as  it  is  to-day.  Some  editors  prefer  the 
work  of  unknown  men,  for  obvious 
reasons.  But  fiction  to  sell  in  the  open 
market  must  reach  a  certain  standard, 
even  if  it  be  only  for  the  despised  third- 
rate  story.  Given  that  small  measure  of 
success,  there  is  no  one  who  is  so  sus¬ 
ceptible  to  the  lure  of  print  as  a  film  man. 
I  ypewriting,  be  it  never  so  perfect,  leaves 
him  cold. 

But  print - ! 

I  have  known  humble  writers  of  short 
stories  in  this  country  who  have  had 
letters  from  American  film  firms  of  inter¬ 
national  reputation,  asking  for  any  of 
their  printed  stories  suitable  for  the 
screen — yes,  and  have  had  interviews, 


LOWNDES-YATES 

too,  when  these  magnates  have  come 
over  to  England.  Such  is  the  effect  of 
print. 

It  is  the  same  in  acting.  The  general 
public  still  seems  to  think  of  the  film 
world  as  an  Eldorado  where  gold  can  be 
had  for  the  trouble  of  picking  it  up.  That 
is  hopelessly  Wrong,  but  it  is  the  rock 
on  which  the  kinema  schools  have  built 
their  fabric. 

In  films  they  pay  for  only  one  thing — 
the  power  of  delivering  the  goods. 
There  is  no  royal  road  to  getting  rich 
quickly,  no  short  cut  to  tame  and  for¬ 
tune.  There  is  only  one  way,  by  very- 
hard  w.ork,  taking  the  bad  with  the  good, 
and  working  all  the  time. 

People  outside  the  screen  world  jump 
too  easily  to  conclusions.  They  see  a 
pretty  well-dressed  girl  and  notice  her 
name  in  all  the  newspapers,  but  they  do 
not  know  the  work  she  has  put  in  to 
get  there.  They  don’t  understand  that  all 
the  newspaper  stunts  and  publicity  in  the 
world  cannot  help  her  unless  she  can 
“  deliver  the  goods.”  A  chance  is  useless 
to  the  person  with  no  experience  behind 
her, 

A  professional  scenarist  of  standing 
was  recently  implored  to  take  a  pupil. 
She  refused.  “  I  can  teach  you  what  can 
be  taught,”  she  said,  “  but  it  would  be  at 
least  three  years  before  you  would  earn, 
and  five  years  before  you  could  make  a 
living.  You  think  you  want  to  write  for 
the  screen,  but  it  isn’t  one  in  a  hundred 
who  can  win  through  the  lean  years.” 

For  the  professional  who  knows  what 
work  is,  I  say,  Take  courage.  You  have 
been  through  bad  times  before.  You  are 
nearly  through  this.  Work,  in  the  end, 
tells.  Courage,  in  the  end,  pays.  You 
who  have  proved  that  you  can  deliver  the 
goods — hold  on. 

Professional  actors  and  actresses  are 
brave  folk.  They  meet  adversity  with  a 
brave  face.  If  they  are  going  through  a 
bad  time,  they  look  forward  with  courage, 
for  they  know,  what  the  amateur  does 
not,  that  good  work  must  tell  in  the  end. 

But  it  is  a  long,  hard,  uphill  road,  and 
only  those  who  tackle  it  with  courage 
will  get  there.  But  the  secret  is — work. 


HENRY  T.  HARRIS, 

CAMERAMAN . AT  LIBERTY. 

PHOTOGRAPHER  OF 

“THE  bigamist: 

Address:  118,  CLAPHAM  ROAD,  S.W.9. 


STUDIO 

CRICKET 

d  v  x  Sunday  at  Boreham  Wood,  the  Ideal 
Film  C.C.  met  with  its  second  reverse 
of  the  season.  Playing  against  Mill  Hill 
C.C.,  which  went  in  first  and  knocked  up  a 
sound  201,  they  scored  99. 

For  the  winners  E.  Graham  collected  a 
perfect  87  not  out,  and  C.  Labone  65.  For 
Ideal,  Wedclon  scored  a  careful  37.  The 
Ideal  Club  are  to  be  congratulated  on  their 
really  excellent  fielding. 

A  fixture  has  been  arranged  between 
members  of  the  screen  and  stage  for 
Sunday,  July  9,  on  the  Ideal  C.C.  ground 
at  Elstree,  at  11.30  a.m. 

This  is  the  first  time  a  fixture  of  this 
kind  has  been  possible,  and  it  is  hoped 
to  make  it  an  annual  event  and  thus  tend 
to  the  development  of  closer  relations  be¬ 
tween  the  two  branches  of  the  entertain¬ 
ment  world. 

S.  Rowson,  of  Ideal,  who  is  making  all 
the  arrangements,  is  anxious  to  develop  the 
cricket  of  the  Trade,  and  has  other  fixtures 
in  view. 

A  train  leaves  St.  Pancras  for  Elstree  at 
10  o’clock,  and  it  is  only  five  minutes  walk. 
Refreshments  can  be  obtained  on  the 
ground. 

THE  KINEMA  CLUB 
CRICKET  TEAM 

On  behalf  of  the  Kinema  Club  Cricket 
Committee,  I  thank  you  for  publishing  the 
account  of  the  match  with  Bromley  Town, 
and  also  for  your  chastening  condemnation 
of  the  “cricketers  of  sterling  merit  within 
the  Kinema  Club  who  do  not  turn  out  to 
play  for  us.  Unhappily,  some  of  these, 
who  are  incidentally,  also  actors  of  sterling- 
merit,  are  victims  of  the  deplorable  con¬ 
ditions  prevailing  in  our  profession,  and  are 
unable  to  play  because  they  cannot  afford 
the  expenses  incidental  to  cricket  matches. 

However,  there  are  others  who  cannot 
have  this  excuse.  It  is  to  be  hoped  they 
will  take  your  censure  to  heart.  G.  G. 
Farnfield,  who  captained  our  side  on  June 
11,  is  willing  to  play  for  us  at  any  time. 
Chris  Walker,  the  old  Gaiety  Club  captain 
and  Thespian  player,  and  others  well 
known  in  good  class  club  cricket  are  also 
available,  so  other  good  class  cricketers 
need  not  be  afraid  that  they  will  only 
meet  the  “Clapliam  Common  ”  type  of 
player  (although  the  great  Lolimann  was 
discovered  there,  you  know)  when  and  if 
they  assist  us. 

We  are  not  ashamed  of  the  “thrashing  ” 
we  received  from  Bromley  Town,  because 
they  are  a  first-class  club  team.  They  have 
net  practice  every  evening,  and  play  one  or 
two  matches  every  week.  They  won  the 
toss  and  batted  first  011  a  perfect  run  getting 
wicket.  Our  only  bowlers,  Goodson  and 
Hamilton,  kept  a  good  length  and  bbwled 
well  enough  until  tired.  We  had  no  change 
bowlers  and  one  or  two  of  us  who  tried 
to  “spin  the  ball”  for  a  few  overs  were 
hit  all  over  the  place.  We  badly  needed 
a  good  fast  bowler.  In  spite  of  our  licking 
we.  are  not  downhearted,  and  although  we 
are,  ■  as  you  say,  “capable  of  being  beaten 
by  all  and  sundry,”  we  are  also  capable  of 
winning.  I  wonder  if  all  and  sundry  can 
beat  us.  I  doubt  it.  Don’t  forget  that 
Bromley  Town  is  pretty  mustard.  Anyway, 
let’s  hear  from  anyone  who  wants  our 
scalps.  Cricket’s  a  fine  game,  win  or  lose. 

DOUGLAS  PAYNE. 

Chairman  Kinema  Club  Cricket  Section. 

P.S.- — Would  any  good  Samaritan  like  to 
give  us  a  ground?  Even  a  net  practice 
pitch  would  be  gratefully  received. 


10 


June  24,  1922 


I  HE  MOTION  PICTURE  STUDIO 


BLUE  GLASS 

J  a  American  film  circles  the  old-fashioned 
monocle  for  judging  photographic 
values  has  been  superseded  by  a  “mono¬ 
tone  filter  ” — a  small  circle  or  square  of 
blue  glass — and  this  is  now  in  use  in  every 
studio  in  that  country.  As  it  is  safe  to 
assume  that  British  studios  will  shortly 
follow  suit,  we  are  glad  to  be  able  to 
publish  the  views  of  Glen  MacWilliams, 
the  cameraman  responsible  for  the  photo¬ 
graphy  of  the  Jackie  Coog'an  productions 
on  this  subject. 

Says  Mr.  MacWilliams  :  Only  experi¬ 
enced  cameramen  realise  how  mighty  eh i s 
little  glass  is.  The  correct  use  of  the 
blue  glass  is  only  to  determine  colour 
gradations.  The  ’blue  glass  transforms 
all  natural  colours  into  monotones,  which 
means  the  steps  ’between  colours  such  as 
blue  to  grey  to  white,  etc.  It  does  not 
give  light  values,  however,  and  here  is 
where  so  manv  people  are  misguided.  The 
blue  glass  is  used  to  help  build  up  proper 
contrast  of  colours  so  that  there  will  be 
no  sameness,  ’out  instead  graduation  and 
colour  values. 

A  common  mistake  made  ‘by  those  using 
(he  blue  glass  is  thinking,  of  course,  the 
scene  will  appear  in  photographic  form 
as  it  does  to  the  naked  eye  through  the 
glass  itself.  This  is  wrong.  Persons 
with  these  thoughts  do  not  stop  to  con¬ 
sider  the  fact  whether  or  not  they  are 
viewing  a  set  or  an  object  under  the 
proper  photographic  light.  For  proper 
photography,  light  values  must  be  built  up 
1o  get  the  proper  effect  through  the  blue 
glass.  The  same  colour  gradations  are 
discerned,  but  not  the  same  density.  As 
proof  of  this,  take  the  blue  glass  in  an 
ordinary  room  under  an  incandescent  lamp. 
It  will  give  every  bit  of  detail  value, 
which  is  impossible  to  obtain  for  photo¬ 
graphic  purposes  with  the  ordinary  motion 
picture  camera  operated  normally.  It  is, 
therefore,  necessary  to  add  and  add  light 
until  the  photographic  value  appears. 

The  wardrobe  department  is  another 
unit  of  the  studio  where  a  blue  glass  is 
of  value,  says  MacWilliams.  The  ward¬ 
robe  mistress  can  correct  her  colour 
schemes.  For  example,  take  a  gown  of 
orchid  and  white,  which  looks  beautiful  to 
the  eye.  The  orchid  is  of  a  soft  colour 
and  the  white  dominates  it.  Then  view 
it  through  the  blue  glass.  Horrors  !  Our 
white  goes  into  a  musty  grey,  because 
the  orchid  reflects  the  ultra-violet  rays, 
and  the  photographic  result  —if  it  is  photo 
graphed— is  plain  white,  which,  of  course, 
ruins  all  beautiful  colour  combinations 
and  disappoints  everyone  when  the  gown 
is  seen  on  the  screen. 

The  blue  glass  is  a  great  asset  to  the 
cameraman — if  used  properly.  There  are 
various  kinds  of  ‘blue  glasses.  Correct 
and  incorrect.  A  correct  blue  glass  will 
give  true  colour  systems  under  Cooper- 
Hewitt  lighting,  whereas  an  incorrect  blue 
glass  will  not  give  the  same  result  as 
to  colour  values  under  a  like  lighting 
system.  There  are  other  blue  glasses 
that  will  not  affect  the  colou|  red.  These 
are  fatal  to  a  cameraman  or  director. 
1'hese  glasses  are  more  of  a  "purple  colour 
and  remind  me  of  plain  pieces  of  old 
bottles. 


LIGHT  AND  SHADE 


Where  England  Scores  Over  America 

(Special  M.  P.  Studio  inteiview  with  Harry  Millarde.) 


“  AMOUR  sun  is  all  right  if  you  could  only 
show  us  a  little  more  of  it.  It  shines 
while  we  rehearse — then  just  as  we  are 
about  to  shoot,  along  comes  a  cloud — and 
whilst  my  cameraman,  Joe  Ruttenberg  and 
I  are  gazing  skywards,  the  villagers  who 
see  us  think  we  are  looking  at  a  new  type 
of  aeroplane  and  stand  and  gaze  too — at 
least,  that’s  my  experience.  I  have  seen 
so  much  lovely  scenery  within  a  fifty-mile 
radius  of  London  during  the  past  ten  days, 
that  I’m  at  a  loss  to  know  which  to  use !  ” 

After  vainly  trying  to  see  Harry  Millarde 
(the  Fox  Film  director  who  is  now  in 
this  country  making  a  film  version  of  “If 
Winter  Comes  ”)  for  a  week,  I  managed  to 
catch  him  at  10.30  p.m.  at  his  hotel,  on 
his  return  from  “location,”  after  which  he 
had  selected  types  for  use  in  some  village 
scenes  on  the  following  day. 

Despite  the  fact  that  Mr.  Millarde  has 
never  before  been  to  Europe,  and  has 
never  before  directed  a  film  with  an 
English  setting,  and  has  only  been  in 
England  a  fortnight,  he  has  already  caught 
the  atmosphere  of  Hutchinson’s  novel. 

“Your  English  country  types,”  con¬ 
tinued  Millarde,  “are  wonderful!  Never 
have  I  seen  such  interesting  old  faces  as 
those  of  some  of  the  villagers  I  have 
talked  to.  And  the  young  girls  all  look 
so  healthy  and  full  of  life.” 

The  conversation  then  changed  to  con¬ 
ditions  now  existing  in  the  film  industry. 

“Although  you  have  a  certain  am.ount  of 
depression  here  in  the  English  film  busi¬ 
ness,  you’re  not  alone  in  that  respect,” 
he  explained,  “we  have  it  in  New  York 
too.  Stars’  inflated  salaries  have  come 
down.  Many  of  them  are  leaving  films  to 
go  back  to  the  stage.  Studios  can  be  hired 
in  New  YWrk  now  for  about  a  third  of  wliat 
was  asked  a  few  years  ago.  Ana  I  hear 
that  something  of  the  same  sort  of  slump 
prevails  here — but  I  don’t  think  there’s  any 
need  for  any  of  the  film  folk  to  get  cold 
feet.  The  film  game  is  gradually  being 
sifted  down  to  a  business  proposition — it’s 
going  to  take  some  time  for  it  to  get 
straightened  out,  but  when  it  does,  every¬ 
one  will  feel  the  benefit  of  it.  Films  will 
be  a  firmer  proposition  for  all  concerned.” 

Then  Millarde  turned,  the  conversation  to 
the  acting  side  of  the  business. 

“Naturally  I  have  not  had  much  time  to 
study  your  actors  and  actresses  here,”  he 
said,  “  I’ll  begin  to  know  them  better  as 
I  get  along  with  my  film,  but  I  hear 
constant  grumbles  here  that  you  have  so 
few  British  stars.  Now,  experience,  and 
experience  only,  can  make  the  real  star 
who  carries  weight  and  can  continue  to 
do  so.  Poor  England  has  had  five  years 
taken  slick  out  of  her  film  life — then  how 
can  you  expect  to  keep  pace  with 
America  ? 

“What  I  think  the  film  business  wants 
is  international  co-operation.  Let  some  of 
the  foreign  artistes  mix  in  with  your 
English  players.  Let  your  English  players 
get  busier  in  foreign  studios.  This  inter¬ 
nationalisation  of  films  is  going  to  do  more 
good  for  the  film  industry  in  general  than 
any  other  scheme  of  which  I  can  think  of  at 
the  moment.  Moreover,  I  think  that 


amongst  your  English  players  there  is  a 
wonderful  opportunity  for  some  good 
character  actors  and  actresses.  Not  the 
average  character  artiste,  but  one  or  two 
who,  given  the  chance,  can  make  a  lasting 
impression  on  their  audiences  merely  by 
their  characterisations.  After  all,  there  is 
so  much  more  satisfaction  to  be  obtained 
from  a  real  character  part ! 

“There  is  quite  as  good  talent  in 
England  as  there  is  in  the  States — many 
of  the  best-known  so-called  American  film 


HARRY  MILLARDE 

the  famous  Americ  in  director  now  in  this 
country  to  direct  “  If  Winter  Comes.” 

stars  and  directors  are  English  by  birth. 
They  failed  to  make  good  here.  They 
came  to  the  United  States  and  there  they 
had  just  the  same  struggle  to  start  as 
one  does  in  this  country,  but  after  years 
md  years  of  trying  and  studying  they 
achieve  fame  because  they  are  talented ! 

“I  am  more  glad  than  I  can  say  to  have 
an  Englishman  playing  lead  in  this  film. 
I  am  just  as  glad  to  come  to  England  to 
make  it,  and  I  sincerely  hope  that  this 
trip  is  only  a  forerunner  of  lots  more  work 
here  later"  on.  Unfortunately  my  cast  for 
‘  If  Winter  Comes,’  as  written  in  the 
scenario,  is  not  a  large  one,  I  wish  it 
were  big  enough  to  engage  everybody,  but 
1  am  using  everyone  possible.  For  instance, 
I  am  selecting  from  your  small  part 
players  ‘  types  ’  for  my  village  scenes.  I 
was  very  tempted  to  use  the  \illagers  them¬ 
selves,  but  I  want  to  give  engagements  to 
as  many  film  folk  as  possible,  so  I  have 
studied  "the  real  village  types  and  am  trying 
to  find  their  duplicates  here  amongst  your 
artistes.” 

Mr.  Millarde  is  thrilled  with  English 
atmosphere,  he  has  steeped  himself  in  it, 
and  the  one  and  only  grouse  he  has  is 
that  the  sun  doesn’t  shine  solidly  from 
8.30  a.m.,  when  he  starts  his  day’s  work, 
till  6  p.m.,  when  he  finishes  actual  pro¬ 
duction  work,  and  starts  in  to  make  his 
plans  for  the  following  day. 


THE  MOTION  PICTURE  STUDIO 


June  24,  1922 


FILMS,  SOCIALISM,  CABBAGES 

AND  JONES 

Some  Satire  by  W.  A.  Freshman 


TONES  is  an  enlhusiast :  by  which  I 
**  mean  that,  it  he  sets  his  heart  on  doing 
a  thing  he  runs  the  whole  hog,  as  the  saying 
Is. 

He  has  long  hair,  long  legs  and  long 
teeth ;  thin  body,  thin  forehead,  and  ditto 
outlook. 

Jones  is  a  Socialist,  and  is  the  greatest 
drawback  Socialism  has.  He  also  has  a 
back  garden  which  bears  the  impress  of  his 
Socialistic  tendencies.  When  he  has 
ferreted  all  he  can  out  of  anything  he  goes 
in  for,  he  drops  it  and  forgets  all  about  it. 

Lucky  man  to  be  able  to  do  so. 

But  this  does  not  apply  to  Socialism  or 
the  garden,  the  latter  being  full  of  weeds. 
No. roses,  no  hyacinths,  no  pansies,  nothing 


and  which  should  have  been  hung  more  on 
account  of  its  novelty  than  anything  else. 

1  thought  she  should  have  been  hanged. 

Suddenly  1  was  aware  that  Jones  was 
speaking ;  I  heard  his  voice  before  I  quite 
understood  his  meaning. 

“  The  moving  pictures — the  fillums 

(Jones  was  not  a  Lancashire  man).  “/  am 
going  to  produce  a  fillum !  ” 

My  knees  bent  beneath  me ;  my  mouth 
gaped;  I  stared  in  astonishment,  which  was 
not  good  manners,  but  I  had  been  taken 
by  surprise. 

Jones  to  produce  a  film,  Jones  to  pro¬ 
duce  a — why.  it  was  absurd.  Films  had 
always  been  one  of  his  greatest  betes  nuires, 
for  to  him  they  signified  capitalism  in  one 


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“TWO  BEST  FRIENDS.” 

IT  is  generally  conceded  that  the  Manchester  Guardian  is 
the  leading  provincial  daily,  and  last  week  it  came  out 
with  a  column  article  which  is  of  great  interest  and  value  to  the 
British  industry.  It  says 

“If  one  were  tempted  to  forget  that  there  are  any  other  films 
than  American  two  events  of  the  week  would  jog  one’s  memory. 
One  event  is  the  showing  of  '  When  Greek  Meets  Greek,’  the 
first  picture  on  the  program  of  the  British  National  Film  League. 
The  other  is  the  anniversary  publication  of  the  Motion  Picture 
Studio.  The  League  and  this  honest  little  journal  are  the  two 
best  friends  of  the  British  film  to-day,  and  that  they  have  such 
faith  with  her  future,  while  detecting  every  fault,  is  her  most 
valuable  recommendation  of  quality.” 

And  what  Manchester  says  to-day  London  says  to-morrow  ! 


but  weeds,  a  few  spring  onions  and  starved 
cabbages. 

Have  you  ever  seen  a  starved  cabbage? 
Jones’  looked  rather  like  soaked  dish-cloths. 
Nevertheless,  they  were  the  pride  of  his  life 
and  the  joy  of  his  existence. 

The  thought  of  his  garden  improved  his 
mental  outlook.  Even  Jones  knew  that  the 
view'  was  not  as  beautiful  as  the  thoughts 
with  which  his  garden  inspired  him,  which 
speaks  well  for  Jones  and  augurs  ill  for 
Socialism. 

One  day  I  had  a  shock  ;  I  met  Jones  in  a 
hurry.  His  hair  Hopped  over  his  eyes  and 
he  waved  his  bat  wildly  in  one  hand. 

Jones’  hat  was  a  story  in  itself ;  it  was 
his  tribute  to  progress. 

“  Laddie,  laddie,”  he  wheezed  at  me,  for 
lie  was  rather  breathless,  “  I’ve  got  it!  ” 

After  a  short  but  careful  scrutiny  I  de¬ 
cided  that  tenderness  was  most  suitable  to 
the  occasion. 

“  Have  you?  ”  I  replied.  “What  colour 
is  it?  Does  it  flap  its  wings  when  it  barks, 
or  merely  sigh  plaintively  and  scratch  the 
gravel?  ...” 

I  was  arrested  by  the  look  in  Jones’s  eyes. 

It  was  pity. 

I  don’t  like  pity  from  anybody,  still  less 
from  Jones. 

“The  pictures,  laddie,  the  pictures!” 

Slowly  I  averted  my  eyes  and  gazed 
around  me,  but  the  nearest  approach  to  a 
pucture  I  could  see  was  a  lady  just  about  to 
cross  the  street.  She  looked  like  a  painting 
which  had  been  rejected  from  the  Academy, 


of  its  direct  and  most  dangerous  forms, 
'this  was  one  of  his  delusions. 

Never  having  been  inside  a  studio,  he  did 
not  know  that  British  capital  and  British 
labour  as  applied  to  film  production  in  Eng¬ 
land  were  two  distinct  quantities. 

My  face  must  have  shown  him  my  lack 
of  encouragement,  for  he  immediately  became 
wildly  enthusiastic  again. 

He  talked.  Have  you  ever  heard  Jones 
talk  with  the  fire  of  enthusiasm  in  his  eyes? 

No? 

You’re  luckv. 

At  length  I  was  able  to  ask  him  what 
subject  he  had  chosen  for  mutilation  by  sacri¬ 
fice  on  the  altars  of  Socialism — only  I  didn’t 
put  it  that  way. 

He  immediately  became  very  confidential, 
and,  bending  down,  whispered  in  my  ear  : 

“  I’ve  secured  the  greatest  novel  of  the 
age,  and  I’m  going  to  revolutionise  the  film 
industry  and  at  the  same  time  help  my 
cause  bv  making  a  propaganda  film  out  of 
it.” 

Then  he  told  me  the  name  of  the  author 
and  the  title  of  the  book. 

The  shock  made  me  gasp,  for  the  novel 
was  one  which  had  made  its  author  famous 
over  night,  and  was  undoubtedly  the  sensa¬ 
tion  of  the  year. 

“Surely,”  I  said,  “the  book  is  a  direct 
hit  at  your  Socialism,  and  anyway  the 
action  is  set  in  high  society,  with  a  capitalist 
as  its  central  figure  !  ” 

“  Aha,”  sang  Jones,  “  that  is  just  where 
Continued  in  next  column. 


TRADE  SHOW 
GUIDE 


WHERE  AND  WHEN  YOUR 
FILMS  ARE  SHOWING 

B.  SAMUELSON’S  new  production. 
*-*"•  which  was  directed  at  the  Isleworth 
studios,  entitled, 

“  The  Game  of  Life,” 
has  an  all-star  cast  which  includes  Lilian 
Hall  Davies,  Isobel  Elsom,  Dorothy  Minto, 
Tom  Reynolds,  Campbell  Gullan,  James 
Lindsay,  Hubert  Carter  and  Allan 
Aynesworth. 

Trade  show  tickets  can  be  had  on 
application  to  G.  B.  Samuelson,  Morten 
Hall,  Isleworth,  Middlesex.  'Postcards 
should  be  marked  “  Reserved  seats.” 

Trade  Show  :  Wednesday,  June  2S,  at 
the  Shaftesbury  Pavilion,  at  2.30  p.m. 


WELSH-PEARSON  Productions  has 
now  finished 

“Wee  MacGreegor’s  Sweetheart,” 
which  was  directed  by  George  Pearson,  and 
photographed  by  Emile  I.auste. 

Betty  Balfour  plays  the  leading  role,  and 
is  supported  by  Cyril  Percival  as  I  ncle 
Baldwin,  M.  A.  Wetherell  as  John 
Robertson,  Denton  Thompson  as  W  illy 
Thompson,  and  !D.  R.  Overall  Hat  swell, 
Ninna  Grey,  Lilian  Christine  and  Mabel 

Archebell.  . 

Trade  show  tickets  can  be  obtained  from 
Welsh-Pearson  and  Co.,  West  End  House, 
3-6.  Rupert  Street,  W.i. 

Trade  Show  :  At  the  New  Gallery 


l  step  in.  I'm  going  to  turn  the  whole 
plot  round.  The  higher  the  society  in  the 
book  the  lower  I  shall  make  it  in  the  play  ; 
the  most  costly  settings  shall  be  depicted 
as  the  poorest  hovels,  and  so  with  the 
characters.” 

He  rubbed  his  hands  together  and  danced 
a  miniature  sword-dance  on  the  pavement. 

I  smiled. 

I’m  afraid  it  was  a  somewhat  superior 
smile,  because  I  saw  revenge  in  the  not-very- 
dim  distance. 

Nevertheless,  in  my  heart  I  felt  distinct 
sympathy  for  all  who  would  be  concerned  m 
the  production,  but  more  especially  for  those 
viewers  and  critics  who  would  have  to  sit 
out  the  Trade  show. 

I  bowed  very  politely  (I  always  do  to 
prospective  producers)  and  left  him.  That 
night  I  had  a  nightmare. 

Jones. 

Cabbages. 

Socialism. 

Films. 

Ugh! 

And  the  name  of  the  film?  Well,  I  may 
as  well  tell  you,  as  soon  it  will  be  on  every¬ 
body’s  lips.  It  was  “  The  Wicker  Chair,” 
by  All  Caine. 


COME  RIGHT  IN  ! 

It  you  are  passing,  or  if  you  want  to  ask 
a  question,  or  if  you  have  some  news,  or 
if  you  want  to  have  a  chat  over  the  busi¬ 
ness-come  right  in!  We  are  anxious  to 
maintain  close  personal  touch  with  all  our 
readers.  We  are  putting  you  first  all  the 
time — you  and  your  interests  are  our  chief 
concern,  and  we  want  to  emphasise  that 
you  have  a  perfect  right  to  come  in  and 
regard  our  time  as  being  at  your  disposal. 
Come  light  ill ! 


12 


June  24,  1922 


THE  MOTION  PICTURE  STUDIO 


HISTRIONICS  AS  A 


SCIENCE 


Ly  COLONEL  NETTERVILLE  BARRON,  C.M.G.,  M.V.O. 


Ey  the  courtesy  of  H.  L.  Bcirbor,  the  editor  of  the  “  Actor,”  we  continue  this  week  the  series  of  articles  on  the  scientific  aspect 
of  acting.  Colonel  Barron  is  a  physician  and  dramatist  and  is  a  Fellow  of  the  Royal  Society  of  Medicine.  He  is  the  author 
of  "The  Three  Brothers”  and  other  wordless  plays,  and  founded  the  Windsor  Forest  School  of  Physical  Culture.  He  is 

well  known  as  a  lecturer  on  the  Art  of  Dramatic  Expression. 


FOURTH  ARTICLE. 


have  now  completed  our  examination 
of  those  gestures  which  are  definitely 
associated  with  emotional  feeling.  We  have 
seen  that  they  can  be  divided  and  sub¬ 
divided  until  we  have  a  more  or  less  work¬ 
able  set  of  tables  for  use  by  students. 

There  remains  another  and  much  larger 
class  of  gesture  to  which  we  must  briefly 
refer. 

Strictly  speaking,  there  are  probably  no 
unemotional  movements.  Were  it  possible 
for  a  man  to  be  entirely  devoid  of  emotion 
he  would  not  move.  But  there  are  very 
many  dramatic  movements  which  are  only 
indirectly  emotional.  Walking,  for  example, 
may  be  a  dramatic  movement.  An  actor 
can  show  initiation,  hesitation,  or  even 
damnation  by  his  walk  alone.  Nevertheless, 
walking  of  itself  is  an  automatic  and  un¬ 
emotional  movement.  Take  also  the  move¬ 
ments  associated  with  surprise.  Surprise  is 
not  an  emotion.  We  are  often  moved  by 
surprise  before  we  have  time  to  meet  the  im¬ 
pression  received  by  the  movement  strictly 
appropriate  to  it.  Surprise  movements  are 
convulsive  and  affect  specially  the  muscles  of 
the  back.  Hence  the  expression  “the  shock 
pulled  me  up.”  We  are  actually  pulled  up 
owing  to  the  strong  contractions  of  certain 
dorsal  muscles.  Surprise  can  be  felt  in  the 
area  over  the  kidneys,  just  as  fear  can  be 
felt  in  the  area  over  the  heart  and  stomach, 
and  tenderness  in  the  area  round  and  about 
the  throat. 

I  divide  the  unemotional  movements  as 
follows  : — 

Automatic,  habit,  convulsive,  eccentric, 
empirical,  indicative,  masking,  miming,  pur¬ 
posive,  centralising,  relaxing,  warning. 

Automatic.— These  are  the  movements  em¬ 
ployed  in  walking,  running,  falling,  lying 
down  and  sitting.  Walking  is,  of  course,  the 
fundamental  exercise,  and  its  importance, 
both  on  and  off  the  stage,  cannot  be  ex¬ 
aggerated.  By  a  man’s  walk  you  should 
know  him.  Walking  is  primarily  affected  by 
sex,  shape,  length  and  bulk.  It  is  second¬ 
arily  affected  by  the  shoes  we  wear.  Women 
are  relatively  wide  in  the  hip.  Their  thigh¬ 
bones  run  downwards  and  inwards,  whereas 
a  man’s  thigh  is  nearly  vertical.  This  ana¬ 
tomical  fact  materially  affects  gait. 

Every  actor  has  to  learn  to  walk.  If  he 
has  not  been  taught  properly  as  a  youth,  it 
is  difficult  to  correct  his  faults  later.  The 
common  fault  is  to  come  down  heavily  on 
the  heel  while  simultaneously  turning  the 
toes  upwards.  The  weight  when  walking 
should  be  distributed,  and  fall  rather  on 
the  ball  of  the  foot  than  on  the  heel.  While 
walking  the  toes  should  point  directly  for¬ 
wards.  Inwards  is  better  than  outwards,  as 
this  position  helps  to  strengthen  the  muscles 
which  hold  up  the  arch  of  the  feet.  A 
mother  who  directs  her  child  to  turn  his 
toes  out  is  committing  a  physiological  sin, 
and  is  condoning  a  habit  which  may,  in 
after  life,  seriously  interfere  with  his  success. 

Automatic  movements  are  often  indicative 


of  disposition  and  character.  They  are  also 
affected  by  a  man’s  profession.  Actors  must, 
therefore,  study  carefully  this  class  of  move¬ 
ment,  noting  especially  the  manner  of  sitting 
down  and  standing  up. 

A  pause  in  the  course  of  an  automatic 
movement,  as,  for  example,  when  an  actor 
suddenly  stops  during  the  process  of  sitting 
down,  always  signifies  either  an  emotion  or 
a  pseudo-emotion  like  surprise.  Pauses  are, 
in  fact,  one  of  the  most  effective  ways  an 
actor  possesses  of  expressing  his  meaning. 


a  superlative  degree  the  faculty  of  timing 
the  mechanical  with  the  spiritual. 

Eccentric  movements  are  generally  angu¬ 
lar  as  opposed  to  undulating.  They  are 
sometimes  miming  (which  see),  as  when 
George  Robey  pirouettes  and  flexes  his  hands 
on  the  wrists,  with  the  fingers  straight,  a 
movement  which  mimes  those  of  the  Russian 
and  Eastern  dancers.  Eccentric  movements 
are  popular  with  the  uneducated,  doubtless 
having  been  acquired  from  stage  comedians. 
An  acquaintance  of  mine  masks  many  of  his 


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WHAT  IS  MELODRAMA  ? 

by  WILLIAM  DE  MILLE 

jWlELODRAMA  has  at  its  basis  a  human  character  in  an  acuto 
situation.  A  human  character  in  such  a  situation  is  always 
interesting.  This  in  brief,  accounts  for  the  popularity  of  melodrama. 

The  reason  we  call  it  melodrama  and  to  some  extent  look  down 
upon  it  is  that  the  average  writer  of  melodrama  gets  his  characters 
into  an  acute  situation  by  forced  unnatural  means.  But  the  audience 
would  rather  see  an  acute  situation,  even  if  brought  about  somewhat 
unnaturally,  than  see  a  perfectly  natural  situation  that  is  not  acute. 

The  situations  in  the  higher  type  of  drama  are  really  as  acute  as  in 
melodrama,  and  are  more  dramatic  because  they  have  been  worked  out 
more  naturally  and  therefore  more  convincing,  with  a  more  powerful 
and  dramatic  effect. 

Melodramatic  dramatists  are  exponenets  of  the  drama,  who,  having 
mastered  the  fundamental  part  of  the  art,  have  not  perfected  their 
expressions  to  the  point  of  making  their  work  entirely  convincing. 

The  last  act  of  Macbeth  is  just  as  melodramatic  as  anything  one 
can  think  of.  Nothing  could  be  more  melodramatic  than  the  last 
act  of  Hamlet.  Yet  we  do  not  call  this  melodrama  because  of  the 
perfection  with  which  it  is  worked  out.  Melodrama  is  really  good 
drama  unfinished — -undeveloped. 


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Habit. — These  movements  are  too  numer¬ 
ous  to  analyse  here.  They  include  all  move¬ 
ments  which  are  peculiar  to  an  individual, 
from  habits  of  twitching  to  habits  of  turning 
the  head,  sitting  down,  or  gesticulating  (see 
Ce'ntralising).  Practically  all  of  them  can 
be  traced  back  to  an  emotional  origin,  al¬ 
though  prolonged  use  has  deprived-  them  ol 
any  direct  emotional  connection 

Convulsive. — The  unemotional  convulsive 
movements  are  those  associated  with  inco¬ 
herent  thought.  They  are  consequently 
most  frequently  seen  among  the  reeducated 
and  among,  the  less  civilised  peoples.  Hyde 
Park  orators  employ  convulsive  wavings  of 
the  hands  'and  posturings  of  the  body.  It 
may  be  that  they  are  really  emotional  move¬ 
ments  resultant  from  a  supreme  desire  to 
get  words  out  before  the  thought  has 
matured.  These  are  thus  the  movements  of 
a  general  nervous  irritation  caused  by  the 
blocking  of  the  natural  channel  of  expression, 
speech.  They  seem  popular  on  th£  screen, 
and,  with  a  superb  indifference  to  art,  are 
employed  to  express  every  or  any  emotion. 

Eccentric. — Charlie  Chaplin  and  Crock  are 
two  masters  of  the  eccentric  movement.  I 
have  seen  the  former  on  the  screen  and  the 
latter  on  the  stage  dozens  of  times.  I  know 
beforehand  what  they  are  going  to  do,  their 
movements  are  not,  therefore  unexpected, 
still  I  laugh.  For  both  artistes  possess  in 


minor  emotional  movements  with  eccentric 
gesture.  The  self-conscious  are  inclined  to 
conceal  their  embarrassment  in  this  fashion. 

Empirical. — An  empirical  movement  is  a 
movement  which  has  been  found  by  experi¬ 
ence,  or  by  reason  of  inheritance,  to  be 
effective.  Regarded  from  a  directly  psycho¬ 
logical  point  of  view,  they  have  no  meaning, 
but  in  the  East,  at  any  rate,  they  have  had 
meanings  attached  to  them,  and  these  mean¬ 
ings  have  been  handed  down  from  genera¬ 
tion  to  generation. 

In  this  way  Indian  dramatic  art  has  de¬ 
veloped  a  technique  of  gesture  which  is 
most  extremely  complicated,  and  not  to  be 
understood  save  by  experts.  Nevertheless, 
the  empirical  movements  used  do  convey 
a  special  emotion  of  delightfully  rhythmic 
wonderment.  Those  interested  should  read 
The  Abhinaya  Darpana  of  Nandikesvara, 
translated  and  published  under  tlv  title  of 
The  Mirror  of  Gesture.  Empirical  move¬ 
ments  are  movements  of  form  and  design. 
Their  purpose  is  grace  and  beauty.  Asso¬ 
ciated  with  rhythm  they  are  extensively  used 
on  the  stage  in  ballet  and  solo  dancing. 

Indicative. — These  movements  indicate 
something,  often  an  object  to  which  we  point. 
They  are  directional,  and  serve  to  define 
a  meaning,  as  when  we  are  in  pain  and  clasp 
our  hands  over  the  affected  part  to  indicate 
the  region  of  our  trouble.  They  are  often 
emotionalised — a  man  may  point  angrily. 


13 


THE  MOTION  PICTURE  STUDIO 


June  24,  1922 


SCREEN  VALUES 

MEASURING  UP  THE  WEEK’S  PRODUCT 


“A  Bachelor  s  Baby." 

Davidson — Featuring  Malcolm  Tod — Sup¬ 
ported  by  Tom  Reynolds,  Haidee 
Wright,  Constance  Wirth  and  Maud 
Yates — Directed  by  Arthur  Rooke— 
Photographed  by  Leslie  Eveleigh — 
Scenario  by  Lydia  Haywood. 

rpHIS  is  a  perfect  specimen  of  high- 
grade  screen  comedy.  1  hanks  to 
an  excellent  scenario,  skilful  direction, 
artistic  performances  and  good  photo¬ 
graphy — but  especially  the  first-named — 
“  A  Bachelor’s  Baby  ”  is  rich  in  enter- 
mem  values,  being  a  choice  admixture 
of  pathos  and  humour,  with  the  accent 
on  the  latter. 

First  and  foremost,  praise  is  due  to 
Lydia  Haywood — that  genius  of  scenar¬ 
ists.  Miss  Harwood  has  a  natural  pen¬ 
chant  for  visualising  humour,  and  in  the 
film  under  review1  she  has  transformed  the 
original  Rolf  Bennett  farce  into  excellent 
screen  comedy. 

Arthur  Rooke  .has  entered  into  the 
spirit  of  the  story,  and  has  managed,  by 
dint  of  his  recognised  artistry,  to  extract 
every  ounce  of  humour  out  of  the  various 
situations.  The  production  has  been  well 
staged  and  cast. 

Malcolm  Tod  fills  the  part  of  the  baby’s 
bachelor  with  consummate  skill.  He 
gives  a  really  brilliant  performance. 

Tom  Reynolds  is  quite  good,  while 
Haidee  Wright  with  great  personal  charm 
and  professional  skill  submits  a  highly 
artistic  performance. 

Photographically,  this  production  is 
quite  good,  with  no  pretensions  to  any¬ 
thing  novel  or  strikingly  original. 
SUMMARY. 

Direction  :  Very  good. 

Star  :  Malcolm  Todd,  excellent. 


Supports  :  Every  artiste  an  artist. 

Literary  :  Clever  story  made  into  a 
perfect  scenario. 

Photography  :  Very  good. 

Exteriors  :  Beautiful. 

Interiors  :  Convincing. 

“  When  Greek  Meets 
Greek." 

Walter  West — Starring  Violet  Hopson 
and  Stewart  Rome — Directed  by- 
Walter  West. 

W  ALTER  WEST  appears  to  have 
striven  valiantly  against  over¬ 
whelming  odds  to  make  good  film  enter- 
ment  out  of  the  story  provided.  The 
story  for  this  the  first  release  of  the 
British  National  Film  League  is  thin  and 
the  continuity  faulty. 

With  this  initial  handicap  Walter  West 
has  grappled,  and  bv  dint  of  excellent 
sets  and  skilful  work  in  technical  depart¬ 
ments  has  succeeded  in  providing  a  photo¬ 
play  that  is,  at  least,  interesting. 

The  acting  falls  below  the  normal  level 
of  British  screen  artistry.  The  best 
artiste  in  the  cast  is  Stewart  Rome.  He 
certainly  submits  a  performance  that  is 
real  life  and  convincing  in  its  naturalness. 

Violet  Hopson  is  disappointing ;  lacking 
that  spirit  of  artistic  abandonment  that 
is  so  necessary  to  the  screen  artiste. 

The  best  features  in  the  production  are 
the  exceedingly^  interesting  scenes  taken 
in  a  steelworks,  and  the  excellent  earner; 
wbrk. 

SUMMARY. 

Direction  :  Very  good. 

Stars  :  Stewart  Rome  convincing. 

Supports  :  Adequate. 

Literary  :  Poor  story  material. 

Photography  :  Excellent. 

Interiors  ;  Very  good. 

Exteriors  :  Well  chosen. 


“  Uncle  Dick's  Darling." 

Starring  Athalie  Davis  and  George 
Bellamy — Directed  by  Fred  Paul — 
Photographed  by  Frank  Cadman. 

S  this  production  was  finished  about 
two  years  ago,  we  do  not  propose 
to  review  this  exhaustively,  if  only  for 
the  reason  that  it  is  obviously  unfair  to 
attempt  to  make  a  tw<o-year-old  product 
conform  to  current  standards. 

The  film  is  interesting  in  showing  the 
advance  that  has  been  made  in  the  last 
two  years  in  film  production,  and  the 
acting  is,  in  certain  instances,  quite  good. 

George  Bellamv  is  adequate,  and  again 
proves  the  worth  of  his  stage  and  screen 
experience. 

The  most  interesting  performance  is 
submitted  by  Athalie  Davis  as  Mary. 
Although  not  afforded  the  opportunities 
that  might  have  been  the  case,  she  evid¬ 
ences  histrionic  abilities  which,  if  handled 
aright  by  the  director,  stamp  her  as 
being  cast  in  the  mould  that  the  best 
screen  artistes  come  from.  Athalie  Davis 
should  be  heard  of  considerably  in  the 
future. 

Humberstone  Wright — now  a  director 
of  merit — proves  that  he  is  an  actor  of  no 
mean  order.  He  is  excellent  as  Ghevini, 
although  the  character  itself  is  somewhat 
improbable. 

Frank  Cadman ’s  photography,  judged 
by  the  standards  of  two  years  ago,  is  very 
good. 

SUMMARY. 

Direction  :  Fair. 

Star  :  Athalie  Davis  very  good. 

Supports  :  Adequate. 

Literary  :  Crude,  story  poorly  told. 

Photography  :  Good. 


BRITISH  FILMS  ABROAD 


T L  have  just  read  rhe  American  and  Australian  comments  on 
three  British  films  that  are  now  being  offered  to  the  exhibi¬ 
tors  in  those  continents.  From  these  we  give  the  following  extracts  : — 

The  Welsh-Pearson  film,  “Squibs,”  is  reviewed  by  the  Australian 
Everyone's  Magazine ,  which  says:  “Here’s  another  winner,  albeit  it 
has  appeared  unaccompanied  byT  any  real  newspaper  noise,  or  un¬ 
seeming  flourish  of  trumpets.  Nevertheless,  it  is  just  as  powerful  a 
narrative  as  many  of  those  produced  under  the  most  congenial  con¬ 
ditions,  irrespective  of  the  money  they  have  cost,  and  you’ll  say 
this  after  seeing  the  picture.  Right  through  there  is  great  interest  i 
in  the  telling,  and.  what  is  pf  infinite  value,  is  the  very  natural  j 
manner  in  which  the  story  is  unfolded.  In  each  type  there  is  the 
finished  actor,  and  there  are  several  of  them.  The  settings  are  well 
arranged,  and  the  narrative,  as  it  goes  on,  gains  in  the  telling. 
The  finale  is  just  ias  it  should  be,  and,  somehow  or  other,  that  is 
what  we  always  look  for.  Probably  “Squibs”  did  not  cost  a  great 
deal,  from  the  producing  standpoint,  but  it  will  entertain  just  as 
much  as  a  majority  of  the  super  features  that  have  gone  before.” 

The  American  Exhibitors'1  Trade  Review  says  of  “The  Spanish 
Jade  ”  (F.P.-Lasky)  that  it  is  “straight,  unadulterated  melodrama, 
with  the  ‘  heroics  ’  laid  on  thicl-r-  and  the  ‘  lid  ’  off  as  regards  a 
generous  provision  of  scraps,  stabbing  affrays,  hair-breadth  escapes, 
threatened  murder  and  sudden  dqath,  with  a  Latin  blood  feud 
thrown  in  for  good  measure.  Those  of  a  more  critical  turn  of  mind 
will  probablv  grin  over  many  of  the  episodes  where  melodramatic 
fury  is  piled  up  ‘  regardless  ’  and  savours  strongly  of  burlesque,  j 


Allowance  must,  however,  be  made  for  the  fact  that  while  such 
a  plot  would  be  deemed  a  rank  absurdity  if  developed  in  the 
prosaic  U.S.,  its  gory  complications  assume  a  more  natural  air  when 
the  foreign  settings  are  taken  into  consideration.  And  there  is 
no  denying  the  beauty  of  the  scenery  caught  by  the  camera.  The 
film  was  produced  abroad  (and  the  view's  obtained  in  the  country 
where  the  action  lakes  place.  As  might  be  expected,  the  local  colour 
is  superb,  and  from  an  artistic  standpoint  the  picture  leaves  nothing 
to  be  desired. 

“Evelyn  Brent  is  physically  attractive  in  the  part  of  Manuela,  and 
fully  equal  to  the  demands  made  upon  her  emotional  ability  |as  the 
beautiful  senorita.” 

And  of  another  F.P.-Lasky  production,  “Three  Live  Ghosts.” 
Everyone's  (Australia)  says:  “Much  of  its  humour  is  English,  but 
the  cast  is  American. 

“There  is  something  of  ,a  dramatic  story  dovetailed  with  the 
comedy,  but  it  is  the  latter  that  counts  nearly  all  the  tiihie. 
Anna  Q.  Nilsson  is  listed  as  the  star  in  the  production,  but  it 
will  be  conceded  that  Cyril  Chadwick,  as  “  Spoofy,”  the  shell¬ 
shocked  hero,  is  entitled  to  the  distinction.  His  work  is  very  con¬ 
vincing  indeed,  as  is  that  of  most  of  the  other  members  of  the  cast. 

“London  is,  evidently,  the  place  where  the  story  wms  ‘  hot,’  as 
there  are  many  well  known  spots  disclosed  on  the  screen;  these 
include  the  Thames  Embankment  Westminster  Bridge,  Trafalgar 
Square  pnd  elsew'fiere,” 


14 


June  24,  1922 


THE  MOTION  PICTURE  STUDIO 


DIRECTORIAL  DIGEST 


In  order  to  keep  our  readers  informed 
as  to  the  whereabouts  and  movements  of 
British  directors  we  have  compiled  the 
following  record,  which  will  be  published 
regularly  and  kept  up  to  date.  Will  direc¬ 
tors  kindly  communicate  news  of  their 
immediately  future  plans  ? 

Dave  Aylott.- — Just  finished  making  a 
series  of  comedies  for  Parkstone  Films. 
J.  Stuart  Blackton. — Now  engaged  on 
first  work  on  “  Love’s  April,”  featuring 
Carpentier. 

Einar  J.  Bruun.— ’Recently  finished  "  The 
Corner  Man  ”  for  Associated  Exhibitors. 
Thomas  Bentley.  —  Last  picture  :  "  A 

Master  of  Craft  ”  for  Ideal  at  Elstree. 
Adrian  Brunel. — Finished  directing  for 
Solar. 

George  Beranger. — Just  finished  ‘‘Thou 
Shalt  Not  ”  for  Binger  in  Holland.  Now 
in  New  York. 

A.  V.  Bramble.- — -Completed  “  The  Card  ” 
for  Ideal  at  Elstree. 

Hugh  Croise. — Completed  “  The  Cow  Girl 
Queen.” 

Captain  Calvert.  —  Cutting  "  Lord 
Byron  ”  for  Gaumont. 

Frank  Crane. — Completed  -‘A  Pauper 

Millionaire  ”  for  Ideal. 

Donald  Crisp. — Wcrkingon  ‘‘Lark’s  Gate.’ 

He  is  to  direct  several  Crisp  productions- 
Denison  Clift. — Is  now  starting  the  series 
of  “  Denison  Clift  Art  Productions,”  in 
association  with  Ideal  Films,  Ltd.  The 
first,  because  of  an  immediate  American 
demand,  is  “  A  Bill  of  Divorcement,”  now 
in  production,  with  Fay  Compton  as  the 
star:  This  will  be  followed  immediately 
by  a  super-production  of  “  Mary  Queen  of 
Scots,”  with  Fay  Compton  as  Mary  Stuart. 
A.  E.  Coleby.- — Completed  ‘‘  Long  Odds  ” 
for  Stoll. 

Edwin  J.  Collins. — Directing  a  new 
series  of  one  reelers  for  Masters. 

Bernard  Dudley. — Directing  Comedies  at 
Croydon. 

William  Drury. — Completed  “  The  Twins 
Dilemma  ”  for  Union. 

Jack  Denton. — Last  productions,  “  Our 
Aggy,”  and  a  screen  burlesque  of  Sherlock 
Holmes  for  Milo  Films. 

Henry  Edwards.— Busy  on  plans  for  a 
Hepworth  production. 

Maurice  Elvey. — Now  directing  the  in¬ 
teriors  for  ‘ '  Dick  Turpin’s  Ride  to  York” 
for  Stoll, 

Kenelm  Foss. — Is  now  planning  three 
productions  for  1922.  These  are  ‘‘  A  Be¬ 
loved  Vagabond,”  Everlasting  Mercy,” 
and  “  M’Glusky  the' Reformer.”  Has  just 
sailed  for  America 

Walter  Forde.- — Completed  the  sixth  of 
a  series  of  six  comedies  for  Zodiac. 
Fred  Le  Roy  Granville.- — -With  British 
International  for  whom  he  will  direct 
“  The  Price  of  Silence.”  Now  in  Tripoli 
for  exteriors. 

Edward  R.  Gordon. — Just  completed 
“  Rounded  Corners,”  for  George  K. 
Arthur  Productions. 

Kenneth  Graeme. — Recently  finished  some 
comedies. 

Bert  Haldane.- — Recently  directed  a  Rising 
Sun  Comedy  at  Barkers. 

Manning  Haynes. — Is  directing  another 
comedy  for  Artistic. 

Sinclair  Hill.  —  Completed  his  latest 
Stoll  production,  “Expiation.” 

A  C.  Hunter. — :At  the  Alliance  Studio. 


Will  Kellino. — Now  directing  “  Rob  Roy  ” 
for  Gaumont. 

Harley  Knoles. — Finished  “The  Bohemian 
Girl,”  for  Alliance. 

Lisle  Lucocque.- — Last  production,  “  Where 
the  Rainbow  Ends.”  Not  working  at  the 
moment. 

Captain  Lambart. — Will  direct  “  Clatter  of 
the  Clogs  ”  for  Lambart  Films. 

Norman  MacDonald.- — Last  production, 
“  Christie  Johnston  ”  for  Broadwest. 

Merrick  Milton.  - —  Now  tack  from  the 
Canary  Islands  where  he  has  been  direct¬ 
ing  “  The  Adventures  of  Captain  Kettle.” 

Duncan  McRae.- — Has  an  important  stage 
appointment. 

Geoffrey  Malins.  —  Filming  the  Flight 
Round  the  World. 

Sydney  Morgan.  —  Is  at  the  moment 
writing  plays. 

Wilfred  Noy. — -Directing  “  Little  Miss 
Nobody  ”  for  Progress  at  Shoreham. 

Guy  Newall. — -On  location  with  his  George 
Clark  company,  for  exteriors  in  “  Fox 
Farm.” 

Percy  Nash. — Having  a  short  rest  between 
productions.  He  is  the  President  of  the 
British  Film  Directors  Association. 

H.  B.  Parkinson. — Just  completed  an 
important  new  film  for  Masters.  Now 
directing  a  new  series  of  sho;  features  at 
Teddington. 

George  Pearson. — Finishing  on  "  Wee  Mac- 
Greegor’s  Sweetheart.” 


Douglas  Payne.- — Has  just  finished  work 
on  “  Potter’s  Clay,”  for  Big  Four. 

Bertram  Phillips. — Completed  "  Topsy 
Turvy  ”  for  British  and  Oriental.  Will 
announce  next  production  shortly. 

Fred  Paul.  — -Finished  Grand  Guignol 
dramas,  and  now  making  “  Brown 
Sugar  ”  for  British  Super. 

James  Reardon. — Finished  direction  of 
comedies  at  the  Gaumont  Studios. 

Edward  D.  Roberts. — -Finished  "  The 
Cause  of  all  the  Trouble  ”  at  Barkers. 

Arthur  Rooke. — Completed  “  A  Bachelor  s 
Baby  ”  for  Davidson.  Directing  a  new 
sporting  film  for  the  same  company. 

George  Ridgwell. — Has  just  finished  sixty 
five  reels  of  film  for  Stoll.  Now  directing 
the  Club  production. 

Victor  Rowe.- — -Recently  finished  “  Football 
Daft,”  for  Broadway  Productions. 

Jack  Raymond.— Finished  Grand  Guignol 
for  Screen  Plays.  Not  working  at  the 
moment. 

Harold  Shaw. — Working  on  an  Alliance 
picture,  “  Love  and  the  Whirlwind.” 

Challis  N.  Sanderson. — Directing  a  seriel 
of  one'reelers  for  Masters. 

Martin  Thornton.— Now  directing  Victor 
McLaglen  in  “  A  Sailor  Tramp,”  for 
Welsh-Pearson. 

Bert  Wynne.- — Finished  "  Meg’s  Children.” 
Will  direct  a  Seal  production  in  Ireland. 

George  Wynne.- — Directing  for  Masters. 

Humberstone  Wri  ht. — Editing  “  Crea¬ 
tion,”  for  Raleigh  King  at  Torquay. 

Walter  West.—  Completed  “  The  Son 
of  Kissing  Cup.”  Started  on  “  The 
White  Hope.” 


EVERY 

DIRECTOR 

in  America 
advertises 
himself  be¬ 
cause  he 
knows  that 
he  must  ad¬ 
vertise  in 
order  to 
live.  The 
M.P.  STUDIO 
is  the  right 
advertising 
medium  for 

EVERY 

DIRECTOR 


SUBSCRIPTION 
ORDER  FORM. 

To  The  Manager, 

“MOTION  PICTURE  STUDIO.” 
93,  Long  Acre,  London  W.C.2. 


SUBSCRIPTION 
RATES : 

3  months  5/- 
6  months  10/- 
12  months  20/- 

post  free- 


Please  send  me  a  copy  of  the  “Motion 

Picture  Studio”  weekly  for . months 

from  issue  of .  or  which  I 

enclose  remittance. 

Name  . 


Address  (to  where  copies  are  to  be  sent.)  . — 


'Date 


15 


AH  ance  Film  Co. 


Sttdio:  St.  Margaret’s,  Twicken-  , 
ham. 

Film  :  “Love  and  the  Whirlwind.” 
Director:  Harold  Shaw. 

Star:  Clive  Brook  and  Marjorie 
Hume. 

Cameraman  :  Phil  Hatkin 
Stage  :  Eighth  week. 

British  International. 

Address  :  Windsor  Studios,  Cat- 
ford. 

Film  :  “  The  Price  of  Silence.” 
Director  :  Fred  Granville. 

Type  :  Five  reel  drama. 

Stage  :  On  location  in  Tripoli. 

British  Super  Films. 

Address  :  Worton  Hall,  Isleworth. 
Film  :  “  The  Faithful  Heart.” 
Director  :  Fred  Paul. 

Stars  :  Owen  Nares  and  Lilian 
Hall  Davis. 

Cameraman  :  S.  Blythe. 

Type  :  Drama. 

Stage  :  Cutting  and  Editing. 


Film  :  “  Brown  Sugar.” 

Star:  Owen  Faros. 

Director  :  Fred  Paul. 

Cameraman  :  S.  Blythe. 

Stage  :  Third  week 

Davidson 

Film  :  Sporting  drama. 

Director  :  Arthur  Rooke. 
Cameraman  :  Leslie  Eveleigh. 
Stage  :  Fourth  week. 

Diamond  Super  Production 

Studio  :  B.  and  C.,  Walthamstow 
Film  :  “  A  Rogue  in  Love.” 

Star  :  Gregory  Scott. 

Director  :  Albert  Brouett. 
Cameraman  :  L.  G.  Egrot. 

Stage  :  Sixth  week. 

Gaumont.  ^ 

Studio  :  Lime  Grove,  Shepherd’s 
Bush,  W.12. 

Film  :  “  Rob  Roy.” 

Director  :  Will  Kellino. 

Star  :  David  Hawthorne. 
Cameraman  :  A.  St.  Brown. 

Type  :  Historical  drama. 

Stage  :  Second  week. 


Film  :  “The  Life  of  Lord  Byron.  ’ 
Director  :  Capt.  Calvert. 

Star  :  Howard  Gaye. 

Cameraman  :  Basil  Emmott  and  A. 
St.  Brown. 

Type  :  Super  production. 

Stage  :  Cutting  and  assembling. 

Ceorge  Clark  Productiors. 

Address  :  47,  Berners  Street,  W.  1. 
Film  :  “  Fox  Farm.” 

Director  :  Guy  Newall. 

Stars  :  Guy  Newall  and  Ivy  Duke. 
Stage  :  Fourth  week. 

Ceorge  K.  Arthur  Productions. 

Address  :  3,  Wardour  Street. 

Film  :  “  The  Night  Errant.” 
Director  :  Ed.  R.  Gordon. 

Star  :  G.  K.  Arthur. 

Scenarist  :  W.  G.  Summers. 
Cameraman  :  R.  Terreneau. 

Stage  :  Casting. 


Hardy. 

Address:  13,  Gerrard  St.,  W.l. 
Film  :  “  The  Adventures  of  Billy 
Bunter.” 

Type  :  Comedy  Series. 

Stage  :  Scheduled. 

Ideal. 

Address  :  Boreham  Woods,  Elstree, 
Herts. 

Studio  Manager  :  F.  A.  Kendrick. 
Stage  Manager  :  F.  G.  Knott. 
Film  :  “  A  Bill  of  Divorcement.” 
Director  :  Denison  Clift. 

Stars:  Fay  Compton  and  Con¬ 
stance  Binney. 


Alliance  Film  Co.,  St.  Margaret 's-on- 
Thames.  'Phone  :  Richmond  1945. 

Barker  Motion  Photography,  Ltd., 
Ealing  Green,  London,  W.5.  'Phone  . 
Ealing  211  and  1582 — Barmopho,  Falux. 

British  &  Colonial  Kinematograph 
Co.,  Ltd.,  Hoe  Street,  Walthamstow, 
E.  17.  'Phone  :  Walthamstow  364 
and  712. 

British  International,  Windsor  Studios, 
Catford. 

British  and  Oriental  Films,  Ltd., 
Thornton  House,  Thornton  Road,  Clap- 
ham  Park.  'Phone  :  Streatham  2652. 

British  Famous  Films,  Ltd.,  “  Wood¬ 
lands,"  High  F~al,  Whetstone,  N.20. 
Phone  :  Finchley  1297. 

British  Photoplays,  Devon  Chambers, 
28  Fleet  Street,  Torquay, 

British  Super-Productions,  Worton 
Hall,  Isleworth.  'Phone  :  Hounslow 
212. 

Broadwest  Films,  Ltd.,  Wood  Street, 
Walthamstow,  F,.I7.  'Phone  :  Waltham¬ 
stow  399 - Broadwest  Films,  Wal¬ 

thamstow. 

Davidson,  I.  B.,  588,  Lea  Bridge  Road, 
Leyton,  E.10.  ’Phone,  Walthamstow  634 

Famous  Players- Lasky  British  Pro¬ 
ducers,  Ltd.,  Poole  Street,  New 
North  Road,  Islington,  N.l.  'Phone  : 
Dalston  3704. 

Gaumont  Co.,  59,  Lime  Grove,  Shepherd’s 
Bush,  London,  W.12.  'Phone  :  Hammer¬ 
smith  2090-1-2 - Prolougue,  'Phone 

London. 

Granger— Binger,  Haarlem,  Holland. 
London  Office  :  Granger’s,  Exclusives, 
191,  Wardour  Street,  W.l.  'Phone  : 
Gerrard  1081  and  1728.  Telegrams  : 
Exclugrang,  London. 

George  glare  Productions,  47,  Berners 
Street,  W.l.  'Phone  :  Museum  3012. 
Studio  :  Candlemass  Lane,  Bcacons- 
fleld. 

Glen  Film  Producing  Co.,  Ltd.,  20, 
Lisle  Street,  London,  W.C.,  and  “  Bel- 
grave.”  Marine  Terrace,  Aberystwyth. 

Hardy  Film  Co.,  Worton  Hall,  Isleworth, 
Middlesex.  'Phone  :  Hounslow  212. 

Harma  Clarendon  Co.,  16  Limes  Road, 
Croydon.  'Phone  :  Croydon  921  and 
2084 - Cinemat. 


Scenarist  :  Denison  Clift. 
Cameraman  :  Wm.  Shenton. 
Stage  :  Fifth  week. 

International  Artists. 

Address  :  57,  Shaftesbury  Av,W  l. 
Film  :  “  The  Lark’s  Gate.” 
Director  :  Donald  Crisp. 

J.  Stuart  Blackton. 

Address  :  Bush  House,  Aldwycb , 
W.C. 

Film  :  “  Love’s  April.” 

Star  :  Georges  Carpentier. 
Director  :  J.  Stuart  Blackton. 
Stage  :  First  week. 


Hepworth  Picture  Plays,  Ltd.,  Hurst 
Grove,  Walton-on -Thames.  'Phone  : 

W  alton-on-Thames  16 - Hepworth 

Walton. 

Ideal  Film  Co.,  Ltd.,  Boreham  Wood 

Elstree,  Herts.  Phone  :  Elstree  52 - 

Idefllros,  Eorehamwood. 

International  Artists  Film  Co.,  Ltd., 
52  Shaftesbury  Avenue,  W.l. 

Isle  of  M  an  Film  Co.,  The  Manx  Studios, 
Isle  of  Man. 

J.  Stuart  Blackton  Productions,  Bush 
House,  Aid  wych.  'Phone:  Central  4048 

Kenneth  Graeme  Film  Syndicate,  3^5, 
Cecil  Court,  Charing  Cross  Road,  London 
W.C.  2.  'Phone  :  Regent  4475. 

Lambart  Films,  Carlton  House,  Regent 
Street,  London,  W.  'Phone:  Gerr.  4040. 

Master  Films,  Weir  House,  Broom  Road 
Teddington.  ‘Phone:  Kingston  1617. 

Minerva  Film  Co.,  Ltd.,  110,  Victoria 
Street,  S.W.l.  'Phone  :  Victoria  7545. 

Progress  Film  Co., The  Beach,  Shoreham- 
by-Sea,  Sussex.  'Phone  :  Shoreham 
19. 

Raleigh  King  Productions,  Watcombe 
Hall,  Torquay. 

Regulus  Films  :  48,  Carnaby  Street, 

Regent  Street,  W.l. 

Screenplays.  Ltd.,  Cranmer  Court,  High 
Street,  Clapham,  W. 4.  'Phone:  Brixton 
2956. 

Seal  Productions,  181,  Wardour  Street, 
London,  W.l.  'Phone  :  Regent  4329. 

Stoll  Picture  Productions,  Ltd..  Tem¬ 
ple  Road,  Crieklewood,  N.W.2.  Willes- 
den  3293— — Stollpic,  Crickle,  London. 

Thompson  Productions,  Hoe  Street 
Studios,  Walthamstow.  'Phone  :  Wal¬ 
thamstow  364  and  712. 

Torquay  &  Paignton  Photoplays,  Ltd., 
Public  Hall,  Paignton,  S.  Devon. 

Union  Film  Co.,  Strand  Street, 
Liverpool.  'Phone  :  Central  325 

Walter  West  Productions  :  Prince’s 
Studios,  Kew  Bridge,  Brentford,  Middle¬ 
sex.  'Phone  :  Chiswick  574. 

Wel=h,  Pearson  &  Co.,  41-45,  Craven 
Park,  Harlesden,  N.W.10.  'Phone  : 
Willesden  2862. 


Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington. 

Film  :  One  reelers. 

Directors  :  H.  B.  Parkinson,  Ed¬ 
win  J.  Collins,  Challis  Sanderson, 
and  George  Wynne. 

Cameraman  :  Theodore  Thum- 
wood. 

Type  :  One  reelers. 

Stage  :  Two  a  week. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 

Film  :  “  Little  Miss  Nobody.” 

Director  :  Wilfred  Noy. 

Star  :  Mavis  Clare. 

Cameraman  :  S.  Mumford. 

Stage  :  Sixth  week. 


Film  :  “  Rogues  of  the  Turf.” 
Director  :  Wilfred  Noy. 

Stage  :  Scheduled. 

Quality  Films. 

Address  :  Thornton  House,  Clap- 
ham  Park. 

Film  :  Pan  stories. 

Director  :  George  A.  Cooper. 
Cameraman  :  Randal  Terreneau. 
Type  :  One  reelers. 

Stage  :  One  a  week. 

Stoll 

Address  :  Temple  Road,  Crickle- 
wood 

Studio  Manager  :  J.  Grossman 
Film  :  “  Running  Water.” 
Director  :  Maurice  Elvey. 
Cameraman  :  J.  J.  Cox. 

Stage  :  Completed. 

“Dick  Turpin’s  Ride  to 
York.” 

Director  :  Maurice  Elvey. 

Star  :  Matheson  Lang. 
Cameraman  :  Jack  Cox. 

Stage  :  Third  week. 

Welsh  Pearson. 

Address:  41-45,  Craven  Park, 
Harlesden,  N.W.  10. 

Film  :  “  A  Sailor  Tramp.” 

Star  :  Victor  McLaglen. 

Director  :  F.  Martin  Thornton. 
Cameraman  :  Percy  Strong 
Stage  :  Finishing. 


Film  :  “  Wee  Macgreegor’s  Sweet¬ 

heart.” 

Star  :  Betty  Balfour. 

Director  :  George  Pearson. 
Cameraman  :  Emile  Lauste. 

Stage  :  Completed. 

Walter  West  Productions. 

Film  :  “  Son  of  Kissing  Cup.” 

Director  :  Walter  West. 

Star  :  Violet  Hopson. 

Stage  :  Cutting. 

Film  :  “The  White  Hope.” 
Director  :  Walter  West. 

Stars  :  Violet  Hopson  and  Stewart 
Rome. 

Stage  :  Third  week. 

Zodiac. 

Film  :  “  Walter  Wants  Work.” 
Director  :  Tom  Seamore. 

Star  :  Walter  Forde. 

Cameraman  :  M.  Rednap. 

Stage  :  Sixth  week. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


66 


'Phone 


DEBRIE 


99 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W. i 


STUDIO  DIRECTORY 

Addresses  and  ’Phone  Nos.  of  all  British  Studios 


Printed  and  Published  by  ODHAMS  PRESS  Ltd.,  Long  Acre,  W.C.2.— June  24,  1922 


'auers  o/J^assionJ’  $ 

CRAhAM  WILCOX  PRODUCTIONS  LTD 

89-91  WARDOUR  ST.  W/L 


THE  MOTION  PICTURE  STUDIO 


August  26,  rg22 


ARTISTES 


ATHALIE  DAVIS 

Juvenile  Leads. 
Comedy  &  Emotional  Parts. 

DISENGAGED. 

Latest  Trade  Show  : 

“  Uncle  Dick’s  Darling:.” 
Corns.  :  70,  Goldhurst  Ter¬ 
race,  Hampstead,  N.W.6. 
’Phone  HamDStead  £66. 


NOEL  GRAHAME 

Heavy  Character  &  Comedy. 
Heavy  lead  :  “  Bladys  of  the 
Stewponey,”  “Cost  of  a  Kiss," 
“  Britain’s  Naval  Secret,”  etc. 
12,  Glebe  Place, 

Chelsea,  S.W.3., 
and  Kinema  Club. 

'Phone:  Regent  2131. 
Photo  by  Xav  uia 


FRED  WRIGHT. 


The  Crazy  Hunchback 
in  the  colour  film 
The  Glorious  Adventure,” 
Covent  Garden  Theatre. 
THE  COPSE. 

WEST  DRAYTON 
Phone,-  Yiewsley  82,  or 
Kinema  Club. 


EVELYN 

BRENT 

Latest  Productions, 

“  Demos,”  “  Sonia,” 

“  Laughter  and  Tears,”  etc 
At  present,  Famous  P.-L. 
Bus.  Corns.,  Sidney  Jay, 
181,  Wardour  Street,  W.l 
Regent  4t29. 


GORDON  HOPK1RK 

Leads-Ideal:  ‘Sybil,’  ‘Ernest 
Malt' avers  *  Direct:  ‘f  our 
MeninaVan.’  Masters  :‘Frua 
Dlavolo,’ ‘  Br’de  of  Lammer- 
moor,’  ‘  Faust,’  ‘  Maritana,’ 
‘Jane  Sho  e.’  ‘Stella’: 
P.  fk  B  ‘  Settled  in  Full.’ 
B.&C  : ‘The  Oueen's  Secret.’ 
Artistic:  ‘The  Skipper’s 

Wooing’  Address: 

‘-chool  Hou-e, Tower  Street, 
W.C  2..  or  Ki  iema  Club. 


MARY  ODETTE 

Just  concluded  : 

”  The  b  a'thful  Heart”  and 
“Windows  ” 

(Comedy  Theatre) 

Latest  Releases  : 

“  Wonderful  Year  ’ 

“All  Roads  Lead  tc  Calvary.” 
All  coins.  ;  Sidney  Jay, 

181,  Wardour  Street. 
Regent  4329. 

m  -mj 

+■'  iss 

1  ** 

GORDON  BEGG 

Dramatic  —  Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.  11, 
Telephone  :  Battersea  21. 

THIS  SPACE  To  LET 
.£3  0  0  fcr  13  insertions 
(including’  block). 


ROS I N A 
WRIGHT, 

Famous- Lasky,  Stoll,  Lon¬ 
don.  Samuelson,  Davidson, 
Ideal,  Broadwest,  etc. 

7  years  Film  Experience. 

8a  GOLDERS  WAY. 
GOLDERS  GREEN,  N.W  1. 
or  Kinema  Club. 


F. 


C  R  E  M  L  I  N  . 


ARTISTES 


JACK  JARMAN 

Juvenile,  Heavies  and 
Comedy. 

London,  Samuelson,  Broad- 
west,  Masters,  Stoll. 

1 61  Wyme1  ing  Mansions, 
Maida  Vale,  W.  9- 
’  Phone  :  Paddington  4428. 


ENA  BEAUMONT. 

Leads  m  “The  Greatet  Love,” 
“  The  Golden  Web  ’’“All  the 
Winners,”  '  Patricia  Brent. 
Spinster.”  “Our  Girls  and 
Their  Physique  ”  ‘  Settled  in 
Full,”  “  Watching  Eyes, "etc. 
21,  Breakspears  Road. 

Brockli-y  S.E  4 
’Phone  :  New  Cross  622. 


SYDNEY  WOOD, 

Juv.  Leads  in  “The  Warrior 
Strain.”  “Her  Benny,”  “  Ever 
Open  Door,”  “  Bars  of  Iron,” 
“The  Flame,”  “The  Will,” 
“  Double  Event.”  “David  and 
Jonathan,”  etc  Address  ; 
The  Laurels.  Beverley  Road, 
Anerley,  S.E. 

'Phone:  Chancery  7080-7081. 


MARJORIE 

VILL1S. 

Corns.  :  4,  Lyall  Street, 
Eaton  Square,  S.W.l, 
’Phone:  Victoria  974. 


DAISY  BURRELL 

Just  finished  placing  lead  in 
‘‘Cinderella  ’’  panto. 

Last  Film  :  Star  part  in 
“  Pride  of  the  Fancy.  ’ 

OPEN  TO  OFFERS. 
39,  Avonmore  Road, 

West  Kensington. 
’Phone  :  Western  675. 


ALEC.  ALEXANDER 

Juvenile  Artiste.  Jnr. 

OFFERS  WANTED. 
All  corns.:  163,  Hackney 
Road,  E.2. 

'Phone  :  Dalston  2583. 
or  KINEMA  CLUB, 
Regent  2131. 


5  Montem  Road,  Forest  Hill,  S.E. 23,  or  Kinema  Club. 


THELMA 

MURRAY 

Character  &  Emotional  parts 
Just  finished  work  in  “Crea- 
t  on”  for  Raleigh  King  Films, 
now  playing  lead  t'.ir  Masters. 
All  corns:  ‘LYN“ALE.” 
OAKLEY  RD. 
WHYTE1.EAFE,  SURREY, 
or  to  the  Kinema  Club 

ICaL  -* 

MIS’  ’vr=T  j 

1  MARGARET 
HOPE, 

Character  &  J  uvenile  Leads. 

Late  Ideal,  Masters,  Stolls, 
etc.,  etc. 

42,  Blandlord  Square, 
Marylebone,  N.VV.l. 
Phone:  Padd.  7211. 

LILIAN 

HALL  DAVIS. 

JUVENILE  LEADS. 
Samuelson,  Ideal,  Gra¬ 
ham  Wilcox,  etc.,  etc. 
All  corns.  :  Sidney  Jay, 
181,  Wardour  St.,  W.l. 
Regent  4329. 


ARTHUR  CLEAVE, 

15,  Shepherd’s  Hill,  Highgate,  N.6. 

'Phone:  Hornsey  1784. 


ARTISTES 

ERIC 

LEIGHTON 

Leads  only. 


9,  ALBANY 

COURTYARD, 

PICCADILLY, 

Phone  :  Regent  5394. 


THIS  SPACE  TO  LET 
£ 2  10  0  for  13  insertions 


ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 

Character  Parts,  “  Mrs.  Gatty,”  in  “Christie 
Johnstone  ”  (Broadwest),  “  Marg’aret  Howe” 
in  “  Beside  the  Bonny  Brier  Bush  ”  (Lasky). 

55,  Campden  St.,  Kensington,  W.8. 

Tel.  :  Park  3623. 

HUGH  MILLER 

DISENGAGED. 

Corns.  :  Frank  Zeillin, 

3,  Great  Windmill  Street,  W.L 

'Phone  :  Regent  6696. 

MI  LTO N  R  OSMER 

INVITES  IMMEDIATE  OFFERS. 
Forthcoming  Releases — 

“GENERAL  JOHN  REGAN”  (Stoll) 

“  ROMANCE  OF  WASTDALE  ”  ,, 

“PASSIONATE  FRIENDS” 

“WOMAN  OF  NO  IMPORTANCE”  (Ideal) 
16,  WEYMOUTH  STREET,  W.l. 

’Phone  :  Langham  2243. 

ARTHUR  PUSEY. 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagcon”  for  I.V.T.A. 

411  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 


THIS  SPACE  TO  LET 
17s.  6d.  for  13  insertions 


MARIE  AULT 

Character  and  Comedy. 

235,  Kings  Road,  Chelsea 


JOHN  EAST 

14,  Iffley  Road.  Hammersmith,  W.  6. 
Ham.  1138. 


SYBIL  JAMES 

J  uvenile  and  Character  Parts. 

C/o  MOTION  PICTURE  STUDIO. 


R.  LUCITA  SQUIER, 

Scenarios  and  Originals.  Five  years  with  Marshal 
Neilon  Productions  “PENROD.” 

Address  :  44,  Great  Russell  Street,  London,  W.C. 2. 


2 


August  26,  1922 


THE  MOTION  PICTURE  STUDIO 


CAMERAMEN.  . 


COSTUMIER.  .  .  . 


WHO’S  WHERE. 


JOHN  J.  COX 

“Four  Feathers,1’  ‘‘Broken  Road,” 

“  Romance  of  Wastdale, ”  etc. 

LATEST : 

•'  Dick  Turpin  ”  for  Stoll  P  cture  Productions,  Ltd., 

4L  BVRROWGATE  ROAD,  CHISWICK.  W.4. 
’Phone — Chiswick  294, 


ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN— 

:  SCIENTIFIC  OUTFIT.  : 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  ctreet,  W.C.2. 

’Phone — Regent  2131. 


L.  G.  E  G  R  O  T 

EXPERT  CAMERAMAN. 

“The  Better  ’Ole,”  etc.,  etc., . 

. “  The  Wonderful  Story.’ 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W.2. 

’Phone  :  Streatham  3085. 


DIRECTORS  .  .  .  . 


EDWARD  D.  ROBERTS 


Now  D  irectir  g 


“  Hims — Ancient  and  Modern.” 


To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
- SUPPLIED - 

Ftom  your  own  Photo,  in  best  glossy  style  :  — 
One  position  17/6  per  gross. 

Two  positions  30 /-  ,, 

Apply— 

PICTURES,  LTD.,  88,  Long  Acre,  W.C.2. 


Consult  .  .  . 

W.  CLARKSON. 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W, 

’Phene;  Gerrard  612. 


JOHN  SALTER.  Estd.  1896. 

Cameras — Projectors—  Repairs, 

13,  Featherstone  Buildings,  Ho'born,  W.C. 
Phone;  7408  Chancery. 


SCENARISTS  . 


GERALD  DE  BEAUREPAIRE, 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 


G.  FORT  BUGKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M’LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.I. 

’Phone :  Regent  4747 
or  Kinema  Club,  Regent  2131. 


THIS  SPACE  TO  LET 
£2  10  0  for  13  insertions 


LEICHNERS 

WORLD 
RENOWNED 


TeiNt 

M  5 


&CRLIS 


Obtainable  from  all  Chemists 
and  Theatrical  Costumiers. 


If  any  difficulty  in  obtaining 
same  apply  direct  to 


Sole  British  Agents : 


VANITIES  LTD., 
15a,  Whitcomb  St. 


(Off  Leicester  Sq.), 


W.C  2 


GREASE 
PAINTS 

&  POWDERS 


Several  directors  nave  explained  to  us 
the  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 

ATWOOD,  ALBAN :  25,  Stanley  Crescent 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  ;  197A,  LatchmereRoad, 
S  W.11.  Battersea  21. 

BROOK,  CLIVE:  “The  Cosy  Corner” 
Houseboat,  oppo  ite  Hampton  Court 
Pa  ace,  East  M  lesey 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 
BROOKS.  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457.  1 
CANNING,  THOMAS:  24,  Gt.  Quebec  St.,, 
Bryanston  Square,  W.i.  Mayfair  2344. 
CAREW,  JAMES,  15  Burleigh  Mansion, 
Charing  Cross  Road,  W.C. 2.  Gerrard  30,04 
D’ESTERRE,  C.  A.,  13.  Fawcott  Street, 
Redcliffe  Girdens,  S;W.10.  Phone: 
Ker.s  ngtoi  4003. 

DOUGLAS  ,  ERNEST  A.:  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.n.  Park  2077. 

ESMOND,  ANNIE;  43,  Richmond  Road, 
Westbourne  Grove,  W.2.  Park  854. 
FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London.  S.W. 9. 

FANE,  DOROTHY  :  12A,  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 
GRACE,  ADELAIDE,  103,  Morshead  Man¬ 
sions,  Maida  Vale,  W.9. 

HALLIDAY,  LENA,  14,  Fernwood  Avenue, 

CfrOq  'f'Ll  Q  TT"1  S  W 

HASTINGS,  WARREN,  5,  Pond  Place, 
Chelsea,  S.W.3.  Western  71 60. 

KAYE,  FREDA,  care  of  The  Kinema  Club 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 
LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 
LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 

W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russel. 

Chambers,  Bury  St,,  W.C.  Museum  7977 
NICHOL,  EMILIE  :  42,  St.  John's  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 
RAYMOND’  JACK  :  53,  Coldharbour  Lane, 
Camberwell,  S.E.5. 

RAYNER,  MINNIE:  Kingwater  Cottage, 
Churc  1  Walk,  Thames  Ditton. 

ROME,  STEWART  :  10,  Chisholme  Road, 
Richmond.  Surrey 

SEARLE  DONALD;  all  corns.  Kinema  Club, 
Regent  2131 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 
STANBOROUGH,  E.  CYRIL:  62,  Upper 
Richmond  Road,  East  Putney,  S.W.  15, 
or  Kinema  Club. 

STEERMAN  A.  HARDING  :  56  Portland 
Road.  W.i  1.  Park  2529. 

STERROLL,  GERTRUDE:  14.  Queens 
Road.  St.  John’s  Wood,  N.W. 8. 

TREE,  MADGE  :  15,  Lancaster  Court,  New¬ 
man  St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Road. 

Barnes,  S.W.  13.  Putney  IQ45- 
WALCOTT,  ARTHUR:  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  2131. 
Two  lines,  12s.  6d.  per  thirteen  insertions. 

or  £2  5s.  for  a  year,  prepaid. 

Extra  lines,  is.  per  insertion. 


3 


t tit  MOTION  PICTURE  STUDIO 


August  26,  1922 


THESE  ARE  HARD  UNES 


B 


Enclosed  is  half-a-crown. 
Put  me  on  your  mailing  list 
for  13  weeks. 

Name  . . . . . 


UT  there  are  harder  lines  even 
than  these  that  surround  this 
page.  The  lines  of  many  a  film 
worker  have  not  fallen  in  pleasant 
places.  And  to-day  they  are  in 
desperate  straits.  This  fact  alone 
is  enough  to  prompt  those  who 
are  sympathetic — and  practical  in 
their  sympathy — to  do  all  that  is 
possible  to  meet  the  needs  of  the 
hour.  That  is  one  of  the  reasons 
that  prompted  us  to  reduce  tke 
price  of  the  studio  worker’s  own 
professional  journal. 

Just  a  twist 


Address 


(New  Subscription  Rates: — 13  Weeks,  2/6, 
Six  Months,  5/-;  One  Year,  10/- post  free.) 

93,  LONG  ACRE,  LONDON,  W.C.2 


of  the  wrist 


and  you’ll  tear  this  corner 
of  the  page  off  —  sign 
it  and  post  at  once. 


J 


4 


August  26,  1922 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93,  Long  Acre, 
London,  W.C.2, 


Vol.  2  No.  64 


Telegrams — 
Southernwood, 
Rand,  London 
Telephone — 
Gerrard  9870. 


August  26.  1922 


Wasted  Stardust .” 

TN  a  recent  issue  we  published  an  article 
A  under  the  above  heading  in  which  we 
argued  that  our  directors  and  film  pro¬ 
ducing  firms  should  develop  latent  talent 
and  train  up  our  youthful  artistes  into 
front  rank  stars.  Since  that  article  ap¬ 
peared,  we  have  received  numerous  letters 
on  the  subject  to  which  we  desire  to 
return.  For  we  are  convinced  that  the 
star-system  is  the  right  system  for  the 
moment.  It  has  been  proved  in  America 
and  found  to  be  a  great  success  ;  and  if 
the  British  industry  can  provide  the 
world  with  a  bunch  of  real  British  stars, 
it  will  be  found  that  the  Public  will  rally 
to  the  support  of  British  films  with  the 
same  zest,  and  worship  British  stars  with 
the  same  adoration  it  has  exhibited  towards 
American  films  and  American  stars. 


Who  calls  the  Tune? 

IT  must  be  kept  well  in  mmd  all  the 
*  time  that  it  is  the  Public  that  matters. 
Managing  directors,  renters,  exhibitors, 
directors  and  even  journalists  may  have 
all  sorts  of  pet  ideas  that  they  would  like 
to  force  on  the  film  trade  but  it  is  the  Public 
that  is  the  final  voice  and  the  deciding 
factor,  and  to  a  great  extent  it  is  because 
certain  sections  of  the  film  trade  have 
persistently  cut  dead-across  public  ten¬ 
dencies  that  Kinema  entertainment  has 
lost  some  of  its  grip  on  the  popular 
imagination.  The  public  taste  may  be 
depraved  but  it  is  suicidal  not  to  cater  for 
the  public  taste.  Film  entertainment  is  a 
business  and  in  business  “  the  customer 
is  always  right.”  The  customer  is  the 
Public  and  the  Public  is  right.  There  are 
many,  with  us,  who  would  desire  to  see  a 
more  educated  Public  with  a  more  refined 
taste  in  film  matters,  just  as  we  would  like 
to  see  a  more  refined  taste  in  literature 
and  the  drama.  But  it  is  a  commercially 
unsound  policy  to  snap  fingers  in  the 
face  of  the  Public  and  say  “  You  think 
you  like  jazz  tunes — we  think  you  ought 
to  like  opera  and  opera  we’re  going  to 
give  you.” 

*  *  * 

Follow  the  Star. 

l/’EEPING  in  mind  the  fact  that  in  the 
final  analysis  it  is  the  Public  that 
should  have  the  casting  vote  it  is  necessary 
to  study  the  film-going  Public  to  discover 
its  likes  and  dislikes,  its  prejudices  and 
preferences.  And  this  fact  is  undeniable  : 
the  Public  loves  an  idol.  It  wants  to  lavish 
t  s  superficial  affections  on  a  popular  figure. 


It  wants  to  lionise  someone  ;  it  doesn’t 
matter  who.  It  will  cheer  Lenglen  ;  it 
will  rave  over  Nares  ;  it  worships  Kid 
Lewis  ;  it  riots  to  see  the  Prince  ;  it  turns 
London  upside-down  and  the  Ritz  mside- 
out  to  catch  a  glimpse  of  Mary  Pickford. 
This  may  be  immoral — this  worship  of 
notoriety  does  not  take  into  account  the 
equal  merit  of  those  who  are  not  lime-lit — 
but  it  is  the  popular  desire  of  the  Public. 
So  far  as  films  are  concerned  the  Public 
wants,  like  the  wise  men  of  old,  to  follow 
the  star.  It  does  not  help  matters  to 
argue  that  the  Public  is  foolish  in  desiring 
this — “  the  customer  is  always  right.” 


There  is  no  market 
value  in  the  Illusion  of 
Theory :  the  only  tan¬ 
gible  asset  that  a  person 
has  to  offer  is  Experi¬ 
ence. 

Experience  is  gained 
daily  and  by  a  study  of 
each  day.  Each  suc¬ 
ceeding  day  is  the 
scholar  of  its  prede¬ 
cessor,  and  so  Experi¬ 
ence  is  acquired. 

You’ll  find  that  the 
purchase  of  Experience 
involves  a  bitter  expendi¬ 
ture  of  mental  and 
moral  currency,  but  a 
little  Experience  is  worth 
a  great  deal  of  Theory. 


And  the  wise  shopkeeper  stocks  his 
windows  with  the  goods  that  his  customers 
want — the  wise  director  will  hitch  his 
waggon  to  a  star. 

*  *  * 


A  Star-mad  Public. 


'“THIS  is  not  the  case  only  with  the 
British  Public.  America  is  star-mad. 
Star-gazing  is  not  merely  a  mania  out 
there — it’s  a  disease.  American  film 
magnates  have  told  us  definitely  that  to  get 


a  film  over  in  the  States  they  must  have 
an  angle  on  which  to  concentrate  their 
publicity  and  the  best  angle  is  a  popular 
star.  They  have  gone  further  :  they 
have  stated  that  their  great  difficulty 
with  British  films  is  that  we  have  not  duly 
recognised  front-rank  stars,  and  the  players 
that  are  featured  in  our  films  are  never 
publicised.  These  Americans  say  that  the 
American  Public  must  have  popularised 
film  players.  The  British  Public,  too, 
craves  for  lime-lit  artistes.  And  the 
demands  of  the  Public  must  be  met. 
George  Pearson,  who  is  not  only  our  most 
brilliant  native  director  but  also  an  astute 
judge  of  popular  taste,  has  recognised  this, 
and  has  developed  the  abilities  of  Betty 
Balfour  until  she  is  a  star  by  name  and  by 
merit.  Says  our  Paris  Correspondent  of 
Mr.  Pearson’s  excellent  pictures  now 
showing  with  great  success  in  France,  ”  It 
is  safe  to  say  that  what  attracts  the  French 
kinemagoers  and  holds  their  interest  in 
such  films  to  such  an  unusual  degree  is 
first  and  foremost  the  acting  of  Betty 
Balfour.”  Flora  Le  Breton  is  another  case 
in  point.  And  Lilian  Hall-Davies  will  be 
another  front  rank  star.  Also  Henry  Victor. 
*  *  * 

Mutual  Benefit. 

COMMERCIALLY,  this  star-system  is 
sound  at  the  moment.  We  do  not 
affirm  that  it  will  always  be  the  right 
policy— that  depends  on  the  tendency  of 
the  public  taste  in  such  matters.  But 
at  the  present  moment  he  is  a  wise  man 
who  attempts  to  supply  the  demands  of 
the  Public  for  film  stars.  This  policy 
works  to  the  best  interests  of  all  concerned 
providing  always,  of  course,  that  other 
factors  are  not  allowed  to  militate  against 
this.  The  director  features  a  player ; 
she  is  publicised  all  over  the  country  ;  the 
Public  enthrone  her  as  its  favourite  and 
continually  ask  for  more  of  her  films  ;  the 
exhibitor  fills  his  kinema  with  her  pictures 
and  tells  the  producing  firm  that  her 
pictures  are  pulling  big  houses  ;  the  firm 
commissions  the  director  to  make  more 
films  in  which  she  can  star.  And  so  every¬ 
one  benefits.  It  may  be  that  the  argument 
raised  will  be  that  the  star  will  get  badly 
swollen  headed  and  place  a  far  higher 
value  on  her  services  than  they  are  really 
worth.  There  is  no  real  substance  for  this 
fear  because  the  remedy  is  extremely 
simple.  And  it  is  based  on  the  elementary 
principle  of  social  economics  which  decrees 
that  when  an  article  begins  to  cost  more 
than  it  produces  it  shall  be  scrapped. 


5 


THE  MOTION  PICTURE  STUDIO 


August  26,  1922 


MEGAPHONE 

During  which  well 
are  interviewed 


MOMENTS 

known  directors 
’tween  shots 


marked  Adrian  Brunei.  “  My  theory  is  that 
in  time,  when  we  have  thoroughly  mastered 
the  German  methods  and  the  American 
methods,  we  will  start  in  earnest  and  beat 
the  world.  But  it  will  take  time  if,  as  you 
say,  the  type  of  man  in  the  film  business 
to-day  is  not  kicked  out  and  replaced  by 
men  of  culture  and  intellectual  power. 


Ill -ADRIAN  BRUNEL. 


j£  CAME  back  from  Germany  on  Saturday 
in  time  to  read  the  comments  in  the  Mot 
ion  Picture  Studio  on  the  fascinating  game 
of  What’s  Wrong  with  British  Pictures?  ’ 
It’s  a  game  I’ve  played  for  years,  though 
seldom  in  public,”  explained  Adrian  Brunei. 

“  But  your  view  that  the  film  industry  in 
this  country  is  in  the  wrong  hands  enthuses 
me. 

“  This  is  how-  they  play  the  game  in  Ger¬ 
many.  They  enumerate  their  biggest  films 
and  get  you  to  say  which,  you  think  their 
best.  They  then  ask  you  of  these,  “  What 
faults  do  you  find  with  them! ” 

Mr.  Brunei  added  they  have  an  enormously 
high  opinion  of  their  work — and  rightly  so 
— but  they  are  still  anxious  to  learn  the 
opinions  of  others  and  improve.  In  a  cer¬ 
tain  class  of  film  the  Germans  really  are 
ahead  of  the  world. 

11  Personally,  I  think  that  we  will  be  their 
equals  and  superiors  in  some  other  classes 
of  films  one  day,  but  not  by  importing  Ameri¬ 
can  help,”  he  continued.  “  I  admit  we  have 
a  long  way  to  go.  First  of  all,  we  have  got 
to  get  the  control  out  of  the  wrong  hands. 
Ours  is  an  art  before  it’s  a  business.  An 
art  dealer  has  to  have  real  works  of  art  to 
sell  to  do  any  real  business. 

“  The  vulgar,  uneducated,  inartistic  film 
boss  of  to-day  has  got  to  go.  While  he  is 
controlling  things  the  right  talent  will  never 
get  a  change.  And  he  is  a  fool  into  the 
oargain.  You  are  right  in  what  you  say 
about  the  intellectual  standard  of  audiences 
being  so  much  higher  than  that  of  those  film 
men  who  are  ruining  our  business. 

“  In  Germany  one  meets  these  people, 
too,  who,  as  my  wife  remarked,  made  Berlin 


quite  like  home,  but  they  do  not  prepon¬ 
derate.  I  went  into  several  film  companies’ 
offices  to  see  the  heads  of  various  depart¬ 
ments.  They  were  constantly  Herr  Doktor, 
Herr  Professor  or  someone  else  looking  like 
an  ambassador.  Their  much-advertised 
kultur  was  apparent,  not  only  in  their  best 
films,  but  in  their  best  film  offices.  It  is  a 
reality.” 

In  some  companies  the  Germans  are  mak- 


ADRIAN  BRUNEL. 

ing  the  mistake  of  slavishly  copying  the 
Americans,  was  Mr.  Brunei’s  impression. 
They  have  adopted  the  slogan,  “  You  must 
have  a  happy  ending,”  and  in  this  way  have 
foisted  unnatural  terminations  on  otherwise 
good  films,  and  thereby  ruined  them. 

“  Please  do  not  think  I  am  agin  the  Yanks 
and  do  not  appreciate  their  fine  qualities. 
Unlike  many  directors,  I  do  go  to  the  pic¬ 
tures.  I  fully  realise  that  most  of  the  world’s 
film  classics  have  come  from  America,”  re- 


David  1  Iawthorne,  Gladys  Jennings,  R.  C.  Dearing  and  Bernard  Bromhead 

at  the  Gaumont  Studios. 


“  Speaking  personally,  I  know  that  my 
own  work  cannot  compare  with  that  of  the 
average  American  director,  But  what 
chance  have  I,  and  many  like  me,  ever  had? 
The  amount  I  have  had  to  spend  per  reel  has 
been  between  ^,'178  and  ^328.  Such  cheap 
production  has  taught  me  a  lot,  and  I  have 
learnt  my  business  in  a  hard  school,  but  it 
has  not  yet  enabled  me  to  do  anything 
really  worth  while.” 

“  But  that  has  not  been  my  difficulty.  I 
have  many  good  friends  in  the  trade,  but 
the  people  who  can  give  me  jobs  are  usually 
afraid  of  me  a  I  am  labelled  what  they  call  a 
‘  high-brow  ’ — because  I  have  had  some 
literary  and  artistic  experience,  and  having 
gone  about  the  world  a  bit  I  am  a  little 
less  conservative  in  my  outlook  than  they.” 

There  is  a  lot  of  money  to  be  made  out  of 
picture  production  by  Iinglish  firms  is  Mr. 
Brunei’s  firm  belief.  But  not  while  the  busi¬ 
ness  end  is  in  its  present  hands.  We  have 
never  produced  a  super-picture  such  as  the 
German  picture  “Fridericus  Rex,”  he  argues. 
We  could,  and  we  will,  but  every  day  that 
passes  with  the  trade  in  its  present  hands 
puts  the  day  of  our  real  march  forward 
further  and  further  away  from  us. 

“  I  am  dismissed  as  a  1  highbrow.’  They 
are  afraid  my  work  will  be  as  dull  as  Ibsen, 
as  highflown  as  Shakespeare,  and  that  my 
sub-titles  will  be  written  in  Greek.  What  a 
compliment  !  They  see  only  two  types  of 
film  director — this  preposterous  Frankinstein, 
the  1  highbrow,’  and  the  appalling  person 
they  employ — the  sausage-making  showman. 
If  this  appalling  person  has  a  cockney  accent 
he  gets  about  ^'30  a  week  ;  if  his  accent  is 
American  he  gets  from  ^60  to  ^200  a  week.” 

'Those  who  have  so  far  beaten  us  are  the 
Americans,  the  Germans,  and  the  Scandi¬ 
navians,  Mr.  Brunei  asserts.  Already  there 
are  signs  in  a  few  of  our  films  of  what  we 
might  do.  11  I  suppose  we  will  specialise  in 
a  class  film  production  which  we  find  we 
are  most  successful  at  making  ;  it  is  not  the 
most  desirable  end,  but  it  is  the  way  of  the 
world. 

“  We  have  got  something  in  our  nature 
which  the  Americans  have  not — something 
which  the  Germans  and  Scandinavians  have. 
But  we  have  also  something  which  these 
latter  have  not  to  the  extent  that  we  have — 
namely,  a  sense  of  true  comedy.  If  you 
doubt  the  possibilities  of  the  English,  just 
think  of  o-ur  literary  heritage  (and  we  are 
not  lacking  in  giants  to-day);  just  think  of 
our  mechanical  genius ;  and  just  think  of 
the  triumphs  of  the  London  stage  during 
the  last  twenty  years.  (We  slipped  and 
slopped  terribly  during  the  war,  but  we  are 
growing  out  of  this  and  becoming  ourselves 
again.) 

“  T  was  delighted  to  notice  your  reference 
to  the  ‘  lack  of  poetical  and  artistic  insight  ’ 
in  our  films.  It  was  brave  of  you  to  bring 
in  poetry.  But  you  are  right.  Who  is  our 
most  popular  playwright  to-day?  I  suppose, 
Barrie — a  poet.  Poetry  is  not  the  senti¬ 
mental  doggerel  that  masquerades  as  such. 
You  find  poetry  in  Barrie,  in  Seastrom,  in 
D.  W.  Griffiths,  in  Max  Reinhardt,  just  as 
much  as  in  Swinburne  and  in  Browning. 
The  people  need  poetry  to-day.  And  healthy 
laughter.  The  pictures  need  more  of  the 
‘  highbrow,’  and  they  would  soon  revive. 
Look  after  the  art  and  the  pounds  will  look 
after  themselves,  for  in  the  kinema,  art  pays. 
You  have  only  to  look  at  the  world’s  film 
successes  to  be  convinced  of  this.” 


6 


August  26,  1922 


THE  MOTION  PICTURE  STUDIC 


Wjq-ft.  jC-iqfitb 

Inti-male  Studio  Q os  sip 


Our  attention  has  been  called  by 
Theodore  Goddard  and  Co.,  the 
solicitors  for  Margaret  Bannerman,  to 
the  advertisement  appearing  on  the 
front  cover  of  the  issue  of  The  Motion 
Picture  Studio  of  July  22  last, 
implying  that  Frank  Zeitlin  is  acting 
as  her  sole  agent  for  film  work.  They 
inform  us  that  such  implication  is 
totally  inaccurate  and  unauthorised, 
Miss  Bannerman  being  under  contract 
to  Andre  Chariot.  We  much  regret 
the  publication  of  this  inaccurate  state¬ 
ment,  and  apologise  for  any  annoyance 
Miss  Bannerman  may  have  suffered 
thereby. 

Adrian  Brunei  writes  to  tell  me  that 
when  in  Berlin  he  saw  The  Motion 
Picture  Studio  at  two  or  three  film 
offices.  “  At  one  they  noted  the 
amount  of  Work  that  artistes  got,  the 
criticisms  of  their  work  and  their  illus¬ 
trated  advertisements.  They  thought 
the  paper  a  fine  institution  and  much 
admired  the  British  enterprise.” 

0ne  of  the  distressing  signs  of  the 
present  is  the  enforced  desertion 
of  the  screen  for  the  stage  by  many  of 
our  better-class  players.  I  understand 
that  both  Dorothy  Fane  and  Robert 
English  are  accepting  stage  engage¬ 
ments,  and  now  the  latest  is  A. 
Harding  Steerman,  that  fine  character 
actor  on  the  screen.  He  is  leaving  the 
screen  for,  I  hope,  a  brief  period,  and 
is  taking  a  stage  part.  It  is  to  be 
hoped  that  he  will  soon  return,  for  he 
is  both  an  artiste  and  a  type. 

I  spent  a  very  enjoyable  day  at  Cat- 
ford  this  week  and  saw  Fred  Le 
Roy  Granville,  the  Australian  director, 
at  work  on  “  Shifting  Sand,”  in  which 
Peggy  Hyland  stars.  Granville,  by 
the  way,  must  be  one  of  the  most 
cosmopolitan  directors  we  have.  He 


is  Australian  by  birth  and  breeding, 
having  been  born  in  Warnanbal, 
Victoria,  in  1886,  and1  spent  his 
first  twenty  years  there.  Then  he  pro¬ 
ceeded  to  America  and  took  up  film 
work.  He  has  travelled  all  over  the 
American  continent,  has  spent  several 
years  in  this  country,  travelled  Europe 
throughout,  and  has  lately  been  work¬ 
ing  in  Africa  and  Northern  Asia. 
But  with  it  all  he  still  retains  all  the 
natural  characteristics  of  the  true 
Australian.  The  visit  we  paid  to 
Catford  will  be  described  in  our  “  Low 
and  High  ”  feature  next  week. 

Needless  to  say,  we  have  received 
countless  congratulations  on  our 
last  issue,  the  circulation  of  which 
was  doubled.  In  addition  to  this 
circulation,  every  exhibitor  in  the 
country  received  a  copy.  By  last 
Wednesday  there  was  not  a  copy  left. 
Typical  of  the  congratulatory  letters 
we  received  is  the  following  tribute 
from  Simeon  Stuart  : — “  I  hope  the 
new  era  of  The  Motion  Picture 
Studio  will  be  a  very  successful  one. 
It  is  truly  a  Magna  Charta  for  the 
motion  picture  player.” 

If  I’m  lucky  I  am  gome  to  snatch  a 
few  days’  holiday  next  wefik,  and 
therefore  the  receipt  of  a  card  from 
Iceland1  was  something  in  the  nature 
of  an  evil  omen.  Henry  Victor  was 
my  correspondent,  and  he  writes  : — 
“  Who  said  there  is  no  snow1  here? 
There’s  tons  of  it,  old  man.  Shall  be 
returning  soon.  Edith  Bishop  sends 
her  kindest  regards  to  all  her  friends — 
she’s  too  cold  to'  write  herself !  ” 

Bert  Darley  sailed  on  Thursday  morn¬ 
ing  for  America.  He  has  just 
finished  playing  a  leading  part  in  “  Hide 
and  Seek  ”  for  Walker  Boyd  Produc¬ 
tions,  and  is  booked  to  play  juvenile 


lead  in  two  productions  for  the  G.  L. 
Production  opposite  Evelyn  Brent. 
The  stories  will  be  played  partly  in 
American  exteriors,  on  board  ship,  and 
some  exteriors  and  interiors  in 
London.  He  hopes  to  art  ive  back  in 
England  at  the  end  of  September  or 
the  beginning  of  October. 

As  a  result  of  our  comments  in  the 
“  Focus  ”  page  last  week  on  the 
statements  made  by  Jeffrey  Bernerd, 
the  British  Film  Directors’  Association 
is  to-night  (Friday)  holding  a  special 
meeting  ‘‘  to  consider  the  attacks  made 
on  British  directors  by  Jeffrey  Bernerd, 
and  to  pass,  if  thought  fit,  resolutions 
on  the  subject.”  We  congratulate  the 
Association  on  moving  in  the  matter. 

My  readers  will  be  delighted  to'  knov 
that  the  “  talented  daughter  o 
Lord  Alington  is  now  playing  leading 
roles  in  two  Belgian  films,”  and  that 
“  between  whiles  she  rushes  to  her 
favourite  Continental  watering  place 
and  regales  her  society  friends  at  that 
resort  with  a  description  of  the  diffi¬ 
culty  of  playing  two  roles'  at  once.” 
Then  why  try  to?  (I  might  explain 
that  the  “  talented  daughter  of  Lord 
Alington  ”  is  the  Hon.  Lois  Sturt.) 

Geoffrey  H.  Malins  writes  me  from 
Karachi,  one  of  the  halting  places 
on  his  aerial  tour  of  the  world  with 
Major  Blake.  Malins  has  little  to  say 
of  his  'adventures,  but  encloses  a  copy 
of  The  Daily  Gazette,  the  local  news¬ 
paper,  which  contains  pages  and 
pages  of  descriptive!  reports  of  the 
^  aerial  explorers’  arrival. 


PULSE 

Raleigh  King  Productions. 

Address  :  Watcombe  Hall,  Tor¬ 
quay. 

!  i  tjdio  :  Vacant. 

Screenplays. 

Address  :  Cranmer  Court,  Clapham 
Not  working. 

Seal  Productions. 

Address  :  171,  Wardour  Street. 

Not  working. 

Stoll. 

Address  :  Temple  Road,  Crickle- 
wood. 

Studio  Manager  :  J.  Grossman 


OF  THE  STUDI 

Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart 
Rome  and  Edith  Bishop. 
Cameraman  :  D.  P.  Cooper. 

Stage  :  Fourth  week. 

Film  :  “  A  Debt  of  Honour.” 
Director  :  Maurice  Elvey. 

Stars  :  Isobel  Elsom,  Clive  Brook 
and  Lionelle  Howard. 
Cameraman  :  Jack  Cox. 

Walker  Boyd  Sunshine  Produc¬ 
tions. 

Address:  Ensign  Agency,  Wardour 
Street,  W.  1. 


O,  continued  from 

Film  :  “  Hide  and  Seek.” 
Director  :  Martin  Walker. 
Cameraman  :  Bert  Ford. 

Stage  :  Cutting  and  Assembling. 

Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. 

Address  :  Princes  Studios,  Kew 
Bridge, 

Film  :  “  The  Pruning  Knife.” 
Director  :  Walter  West. 

Star  :  Florence  Turner. 

Stage  :  Fourth  week. 


pa  ore  19. 

Welsh  Pearson. 

Address:  41-45,  Craven  Park, 
Harlesden,  N.W.  10. 

Film:  “The  Romany.” 

Star  :  Victor  McLaglen. 

Director  :  Martin  Thornton. 
Cameraman  :  Percy  Strong. 

Stage  :  Third  week. 


Film  :  “  Squibs  Wins  the  Calcutta 
Sweep.” 

Director  :  George  Pearson. 

Star  :  Betty  Balfour. 

Cameraman  :  Emile  Lauste. 
Stage  :  Sixth  week. 


7 


THE  MOTION  PICTURE  STUDIO 


August  26,  1922 


HILDA  BAVLEY  •  EVA  MOORE 
HERBERT  LANGLEY  HENRY  VI BART 
AUBREY  SMITH  •  GEORGE  K. ARTHUR 

ALLAN  AYNESWORTH  A.C.POULTON 

DIRECTED  BY 

GRAHAM  CUTTS. 


Bottom  left  Mae  Marsh  in  the  witness  box  in  the  Old  Bailey  scene  ,•  Bottom  right  :  Herbert  Langley 

and  Hilda  Bayley  ,•  Top  Mae  Marsh  and  Eva  Moore. 


8 


THE  MOTION  PICTURE  STUDIO 


August  26,  1922 


GRAHAM  WILCOX 
PRODUCTIONS  137? 


PRESENT 


cAsr 


M/IE  MARSH 


HILDA  BAYLEY  •  EVA  MOORE 
HERBERT  LANCLEY-  HENRY  V1BART 
AUBREY  SMITH  •  CEORCE  K. ARTHUR 

ALLAN  AYNESWORTH  -  A.C.P0ULT0N 

DIRECTED 

RAM  CUTTS 


Top:  George  K.  Arthur,  Hilda  Bayley  and  Herbert  Langley,-  Bottom  left:  Henry  Vibart  as  the  Judge,- 
Bottom  right  C.  Aubrey  Smith,  with  Mae  Marsh.  The  star  and  five  of  the  principals  in  the  oroduction. 


9 


the  motion  picture  studio 


August  26,  1922 


Scenes,  Sets  and  Stars  in  "Flames  of  Passion,"  the  new  J- 


10 


i  PRODUCTIONS  LTD 

<  Passion 

MARSH 


August  26,  1922 


THE  MOTION  PICTURE  STUDIO 


1  ORE  -  HERBERT  LANGLEY 
I  SMITH  *  GEORGE  K.  ARTHUR 
ij'H  -  A.G.  POULTON 

yet  try 

CUTTS 


ft  itory- All-Stars  production  just  completed  by  Graham  Cutts. 


THE  MOTION  PICTURE  STUDIO 


August  26.  1922 


AMP 


Following  the  example  of  the  “  Star,"  we  have 
arranged  j  or  Ernest  G.  Allighan  and  David 
Robertson  ( the  black  and  white  artist)  to  visit  film 
centres  each  week  ior  the  pur  rose  of  a  humorously 
informati\e  article  with  caricature  illustrations. 

Ms  these  visitors  are  physically  “  the  long  and  short  of  it,”  the  appropriateness  of  the 
parody  of  the  “  Star  s”  /  amnus  headline  will  readily  be  seen.  It  should  be  explained 
that  all  references  in  this  series  are  perfectly  pond-humoured  and  no  offence  is  meant 

or  should  be  taken. 


WITH  H.M. 

II  IGHT  up  to  last  Friday  I  had  always 
^  imagined  that  present-day  Napoleons 
were  all  journalists;  that  the  pen  was 
mightier  than  the  12-pounder,  and  that  it 
takes  God  and  an  editor  to  make  a  potato. 
But  last  Friday  I  spent  three  hours  at  181, 
Wardour  Street,  and  now  there  are  only 
three  men  in  the  world  :  Lloyd  George,  Dean 
Inge  and  Sidney  Jay.  (There  is  another, 
really,  but  you  all  know  my  inherent 
modesty.) 

One  day  some  intrepid  spirit  will  meet  his 
just  doom  by  writing  a  “History  of  the 
Film  Movement,”  and  its  most  hectic  chap¬ 
ter  will  be  “With  Jay  to  the  Throne.”  For 
I  have  discovered  the  Uncrowned  King  of 
Studiodom.  A-  king  who — unlike  all  other 
monarchs — has  attained  and  maintained 
royalty  by  virtue  of  his  own  merits. 

The  Artist-Fellow  and  I  arrived  before  His 
Majesty  had  returned  from  lunch.  There 
were  about  fifty  artistes  in  the  general  wait¬ 
ing  room;  Miss  Sliurrey  and  Connie  in  the 


His  Majesty  enthroned  and  garlanded. 


office;  “Low  and  High  ”  in  Jay’s  private 
office.  There  seemed  no  more  life  in  the 
place  than  is  in  a  meeting  of  the  Sludcum- 
on-Sleet  Rural  District  Council.  A  dull 
murmur  of  voices  from  the  waiting  room ; 
“Well,  it  can’t  be  done,”  and  a  clicketty- 
cdaeketty -click  from  Miss  Shurrev  and 
Connie’s  typewriter  respectively;  an  odour 
of  sanctity  and  garlic  from  Jay’s  private 
office,  and  the  Artist-Fellow  respectively; 
and  a  fidgety  impatience  to  know  what  had 
won  the  two-thirty  from  yours  ’umblv. 


KING  JAY 

Then,  as  suddenly  as  a  tropical  storm,  the 
somnolence  of  the  establishment  was 
churned  up  into  a  vociferous  animation.  A 
scurrying  of  feet;  ringing  of  bells;  shout¬ 
ing  of  voices;  banging  of  doors.  In  other 
words — His  Majesty  had  arrived.  Mentally 
I  stood  to  attention  and  removed  my  hat. 

Jay,  I  ought  to  explain,  is  not  a  man. 
He’s  a  thing.  A  thing  with  the  intelligence 
of  a  man  and  the  untiring  energy  of  a 
machine.  At  times  he’s  a  Rolls  Royce — 
gently  purring  his  way  along;  pats  on  the 
back;  conciliatory  manner;  genial  smile. 
At  others  he’s — a  Tank!  Riding  over  all 
obstacles,  as  though  their  presence  was  not 
known,  felt  or  seen — going  clean  through  a 
forest  of  difficulties,  felling  the  trees  as  he 
moves  forward. 

The  Jay’s  Agency  is  a  monument  to  the 
indomitable  spirit,  initiative,  and  work¬ 
ability  of  the  King. 

But  he  made  one  mistake.  It  upset  the 
Artist-Fellow’s  aesthetic  appetite  for  the 
day:  Jay  would  persist  in  sitting  behind  a 
fine  bunch  of  beautiful  flowers  that  were 
on  liis  desk.  That,  to  the  Artist-Fellow’s 
mind,  was  almost  a  libel  on  the  roses.  He. 
argues  that  to  put  Jay  behind  a  bunch  of 
roses  is  a  futile  attempt  to  gild  the  lily. 

I  wonder  what  he  means. 

We  spent  half  an  hour  in  the  general 
waiting  room  among  the  artistes. 

What  an  ordeal ! 

They  thought  we  were  screen-struck 
scholars  from  Hambone  Place  and  giggled. 
The  A.F.  got  his  own  back  by  sketching 
some  of  them.  But,  not  being  a  journalist 
of  the  film,  stage  or  American  description, 
1  couldn’t  pull  out  a  note  book  and  make 
copious  notes  with  feverish  rapidity. 

So  1  stared  ’em  out. 

And  here  let  me  say,  in  all  sincerity, 
that  I  feel  somewhat  sneakish  in  attempting 
1o  poke  fun  at  the  expense  of  these  artistes. 
I  saw  infinitely  more  tragedy  than  comedy 
in  this  scene  of  supreme  patience.  There 
they  stood.  Looking  into  nothing.  Just 
waiting.  They  did  it  yesterday.  And  the  day 
before.  They  will  do  it  to-morrow.  And 
the  day  after  ....  just  waiting.  One  day 
■  they’ll  earn  a  guinea  by  working  in  a 
crowd.  And  then  the  business  of  waiting 
will  start  all  over  again. 

I  marvelled  at  the  variety  of  types.  There 


were  fat  men  and  skinny  women;  king 
beavers  and  giggly  flappers ;  boys  in 
knickers  and  broken  down  chorus  girls; 
poor  men,  poorer  men  and — film  actors; 
women  with  freak  hands,  double-jointed 
noses  and  double  chins;  men  with  no  film 
experience,  men  with  less  film  experience 
and — stage  actors;  tall  men,  short  men,  slim 
men;  heavy  men,  fat  men,  smart  men;  dark 
men,  squint-eyed  men,  and  men  with  deep- 
purple  noses. 

Once  Jay  poked  his  head  round  the  door: 
“Stand  up  straight,  boys,  I  want  a  tall 
man.”  And  I  marvelled  at  the  ease  and 
rapidity  with  which  those  men  could  “with¬ 
out  taking  thought  add  to  their  stature.” 
One  fat  old  fellow  excited  my  sympathy. 
He  was  about  five-feet-two  square,  and  by 
standing  on  tip-toe  and  craning  his.  neck 
he  made  5  ft.  8  in.  by  5  ft.  2  in.  Unfortun¬ 
ately  the  5  ft.  2  in.  part  was  too  much  for 
the  5  ft.  8  in.  part,  and  brought  it  to  the 
ground  in  a  huddled  heap. 

In  between  Jay’s  rushes  into  this  room 
the  clatter  and  clang  of  the  tongues  (ladies’ 
and  men’s  respectively)  was  bewildering.  I 
could  not  think  clearly  for  the  verbal  jazz. 
The  ladies  were  excellent  linguists,  only 
they  managed  to  say  it  all  in  one  language. 

“Why  is  Polly  Panshine  looking  for 
work?”  asked  one,  “1  thought  she  retired 
from  the  stage  with  enough  to  live  on." 

“So  she  did,”  replied  the  other,  “at  least, 
it  looked  enough  to  live  on  five  years  ago.” 

Beauty  is  skinned  deep,  I  thought  as  I 
heard  one  girl  telling  another  that  her  beauty 
specialist’s  bill  was  twelve  guineas. 

But  what  was  interesting  was  to  listen 
to  the  conversation  general  rather  than 
particular.  This  is  what  I  heard: 

“  .  .  .and  be  thankful  he  doesn’t  play 
golf  at  night  .  .  .  came  in  at  eleven  to  one 
.  .  .  wanted  me-  to  play  lead  .  .  .  J  fry 
mine  in  lard  .  .  .  the  camisole  was  cream 
with  blue  insertion  .  .  .  yes,  and  1  only 
had  a  Bass  and  two  double  Johnnies  .  .  . 
going  to  form  a  company  with  me  as  the 
star  ...  a  great  hole  in  the  heel  of .  her 
stocking  .  .  .  when  I  played  with  Ellen 
Terry  .  .  .  cut  his  first  two  teeth  ...  I 
dined  with  Denison  Clift  at  the  Savoy  last 
night  .  .  .  the  business  is  going  to  the  degs 
as  fast  .  .  .  like  when  Tucker  said  to  me 
at  the  Old  London  .  .  .  now  selling  leather 
bags  .  .  .  picked  a  winner  at  the  A.P.  .  .  . 
all  snobs  at  the  Club  .  .  .  scandalous  treat¬ 
ment  by  the  Americans  .  .  .  poor  Agnes 
slipped  on  her  tube  of  grease  paint  and  .  .  . 
swore  blind  that  it  was  true,  so  she  said 
.  .  .  I’ll  lend  you  my  trousers  .  .  .  lie’s 
only  breeding  trouble  for  .  .  .  the  policeman 
who  ran  him  in  .  .  .  an  old  character  actor 
like  myself  cannot  .  .  .  over  twenty  scenes 
with  Polly  Fredericks  in  Los  before  I  came 
.  .  .  absolutely  pure  silk  and  lovely  crepe- 
de-Chine  undies  ...” 

I  dragged  the'  Artist  Fellow  away.  His 
nerves  aren’t  too  strong. 

So  we  went  into  the  office  to  chat  to  Sid 
Jay.  We  might  have  hoped  to  have  chatted 
to  Maurice  Tourneur  or  our  own  wives. 

There  are  only  two  telephones  in  the 
office  because  Jay  has  only  one  ear  each 
side  of  his  face.  We  found  him  on  active 
service  with  these,  using  up  the  waste 
material  of  his  hands  by  going  over  his 
patent  card  index  the  while  he  dictated  a 
letter  to  Connie. 

“Yes,  old  boy,  I  know,  eight  people  to  be 
bus  passengers.,  an  old  man  and  woman, 
eh,  what’s  that?  “Your  letter  to 

hand  this  morning  and  I  beg  to  state  that 
I  have  arranged  for  the  racing  car  to  be 


A  Birds-Eye  Vi  ew  of  Sid  Jay  s  Waiting  Room. 


12 


August  26,  1922 


THE  MOTION  PICTURE  STUDIO 


at  your  office  Oh  yes,  old  boy,  I 

understand,  you  want  a  girl  anti  fellow  to 
look  like  a  married  couple  with  a  baby. 
At  the  Royal  Court  Hotel  at  eleven  (take 
that  down,  Connie,  Royal  Court  Hotel  at 
eleven).  That’ll  be  quite  O.K.,  old  boy, 
leave  it  to  me.  Bye-bye”.  ...  “3  p.m. 
to-morrow  afternoon.  This  car  is  a  ICO 
m.p.li.  racer  and  is  due  at  Brooklands  on 
Saturday.  Yours  Faithfully”  .  .  .  “Ideal 
wants  eight  bus  passengers,  Miss  Shurrey, 
I  think  we  can  find  ’em  in  the  other  room. 
Send  Miss  Lepstrong  as  well,  poor  old  girl, 
she’s  hard  up  an’ll  be  glad  of  the  money  ” 
■  ,  .  .  “Here,  Jennings,  take  this  wire  to 
the  post  office  ”  ....  “If  Bert  comes,  bring 
him  upstairs  to  me — we’re  going  to  have  a 
cup  of  tea  there.”  And  Jay  hustled  the 
A.-F.  and  I  upstairs. 

I  sank  into  a  luxurious  settee  and  gasped. 
The  Artist  Fellow  administered  artificial 
respiration  for  ten  minutes  and  at  length 
I  recovered.  But  two  seconds  later  Bert 


His  Majesty  diplomatically  settling  a  dispute 


arrived  and  there  began  discussions  re  the 
cast  of  a  big  production,  this  being  punctu¬ 
ated  by  more  telephone  bells. 

“It’s  all  a  case' of  sizing  up  the  values  of 
people,”  explained  His  Majesty.  “It  would 
be  of  no  use  in  the  world  for  me  to  cast 
a  man  with  a  wooden  leg'  to  double  Henry 
Victor,  for  instance.  Take  yourselves  as  an 
example.  You.  now  (pointing  to  the  Artist- 
Fellow)  if  1  wanted  a  doctor  I’d  use  you, 
but  I  wouldn’t  use  you  for  a  sailor’s  part. 
And  you  (it  was  m_y  turn)  if  I  wanted 
an  uneducated,  beer-swilling  bricklayer  ” 
(I  clenched  my  fists)  I — wouldn't  cast  you  !” 

I  heaved  a  sigh  of  relief.  No  doubt  he 
imagined  that  I  would  make  an  ideal 
bank  manager  (my  mouth  watered)  or  a 
Prime  Minister  (I  know  how  to  write 
“memoirs  ”)  or  even  the  editor  of  the 
Times  (it  is  now  like  the  M.P.  Studio — half 
price).  And  so  I  listened  with  gleaming 
eyes — or  else  eager  ears;  I’m  not  sure  which 
is  right. 

“No,  of  course  not,”  King  Sid  was  saying, 
“but  what  I  would  cast  you  for  would  be  a 
part  such  as,  for  instance,  the  referee  of  a 
fight  or  the  Lord  Mayor's  coachman  !  ” 

I  could  have  thrown  my  hat  at  the 
Artist-Fellow — only  it  cost  four-and-nine  at 
Dunn’s.  He  simply  exuded  gloating  satis¬ 
faction  at  every  pore.  Instead  we  com¬ 
menced  an  argument  as  to  our  respective 
personal  virtues.  I  couldn’t  lose  my  temper 
because  I  lost  that  long  ago  when  the 
Black  and  Tans  raided  Ireland.  So  the 
Artist-Fellow  lost  his. 

But  I  learned  that  Sid  is  not  only  a  regal 
reigning  monarch — he’s  a  bally  diplomat  as 
well,  and  before  we  knew  it  he  had  con¬ 
vinced  us  that  we  were  both  right  and  that 
it  was  all  the  fault  of  the  existing  oligarchy. 
So  we  all  smoked  my  cigarettes,  and 
thought  No.  181  the  revised  edition  of  the 
Halls  of  Valhalla. 

We  learned  enough  in  three  hours  to 
make  us  take  off  our  hats  to  Sid  Jay  as 
being  the  slickest,  livest  man  in  the  film 
business.  He  can — and  does — supply  any¬ 
thing  from  a  revolution  to  a  performing 
ant.  He  only  made  one  mistake  in  the 
whole  of  his  business  career :  he  was  com¬ 
missioned  by  a  producing  firm  to  obtain  a 
scenario  with  plenty  of  action  in  it,  and 
the  script  that  Sid  submitted  had,  as  its 
central,  situation,  two  characters  playing  a 
game  of  chess. 


I 


NEW  SERIES. 

ON  OUR  BLACK  LIST 

No.  Ill, —  Brain-Pickers 


Thanks  to  a  pet  verted  law  of  libel,  the  effect  of  which  is  to  safe 
guard  the  wrongdoer  and  penalise  the  journal  which  is  courageous 
enough  to  expose  him,  we  are  precluded  from  m  ntioning  the  names  or 
the  persons  in  the  Film  Industry  whom  we  are  exposing  in  this  series 
of  articles.  We  have,  however,  the  full  facts,  including  the  name  of 
the  person,  relating  to  these  exposures.  Our  object  in  writing  them  is 
to  make  known  to  the  wrongdoer  the  fact  that  we  are  fully  aware  of  his 
—  or  her — activities  which  will  receive  fuller  publicity  if  this  initial 
and  partial  exposure  does  not  cause  an  alter  Uion  for  the  better. 
Readers  who  may  know  of  other  such  cases  are  sked  to  communicate 
with  us — their  letters  will  be  treated  in  strictest  confidence  and  no 
names  mentioned. 


JT  has  been  said  repeatedly  that  one  of 
the  weaknesses  of  British  films  is  due 
to  the  treatment  meted  out  to  scenarists. 
It  is  quite  a  commonplace  to  find  scenar¬ 
ists  complaining  of  the  meagre  payment 
made  for  scenarios  by  British  firms.  But 
this  is  not  the  only  just  grievance  that  this 
class  of  craftsmanship-  has.  And  the  evil 
that  we  wish  to  give  publicity  to  and  the 
type  of  man  we  intend  to  expose  is 
doing  much  to  discourage  writers  from 
writing  for  the  films  and  therefore 
weakens  the  whole  structure  of  British 
photoplay  production. 

Some  time  ago,  one  of  the  less-known 
scenarists  submitted  an  original  scenario 
to  a  producing  firm  that  is  anything  but 


Sid  Jay  keeps  a  watchful  eye  on  his  staff. 


a  “mushroom-growth  ”  concern.  This 
script  had  involved  months  of  hard,  labori¬ 
ous  work  in  its  preparation,  and  the  scen¬ 
arist  was  depending  upon  its  sale  to  meet 
certain  imminent  liabilities. 

Weeks  passed  and  no  news  was  heard 
either  of  the  receipt  of  the  scenario  or 
of  any  decision.  The  scenarist  called  at 
this  office,  and  consulted  us  as  to  the 
course  to  pursue.  We  advised  sending  a 
firm  business-like  letter  to  the  effect  that, 
while  the  writer  did  not  want  to  prejudice 
the  decision  on  the  MS.,  she  would  point 
out  that  she  could  not  afford  fur  it  to  lie 
idle  if  there  was  no  hope  or  intention 
of  using  it. 

About  two  weeks  later  the  MS.  was 
returned  with  no-  apologies  for  the  delay 
- — not  even  a  note  of  “regrets  that  it  is 
not  suitable.”  And  the  poor  scenarist's 
hopes  are  again  dashed  to  the  ground. 
Which  is,  in  itself,  bad  enough,  and  we 
pause  to  protest  at  the  callous  way  in 
which  the  works  of  scenarists  are  treated. 

This  treatment  we  hasten  to  add,  is 
usually  indicative  of  the  minor  producing 
firms — those  with  the  best  names  and  re¬ 
putations  treat  scenarists  with  the  respect 
and  consideration  they  full}-  deserve. 

But  our  exposure  goes  further,  Some 
weeks  later  this  particular  firm  which 
retained  the  scenario  announce  that  it 
had  started  on  a  new  production.  And 
it  is  discovered  that  the  plot  of  this  pro¬ 
duction  was  contained  in  the  scenario 
that  was  returned. 

Unconscious  plagiarism  and  plot  steal¬ 
ing  are  two  different  things  :  one  is  a 
coincidence,  the  other  a  crime.  But  the 
scenarist  has  no  legal  redress  because  a 
plot,  nor  an  idea,  cannot  be  copyrighted, 
only  the  form  of  the  plot  or  the  clothing 
to  the  idea.  And  so  the  poor  scenarist 
not  only  suffers  the  indignity  of  the  in¬ 
considerate  treatment  but  is  made  to  suf¬ 
fer  the  loss  of  the  scenario,  for  once  the 
idea  has  been  filched  and  filmed,  the 
scenario  is  valueless. 

This  is  a  practice  that  is  not — we  re¬ 
joice  to  say — general  in  the.  business  ;  but 
it  is  almost  a  recognised  policy  of  one  of 
the  minor  producing  firms  and  is  very 
general  with  the  American  companies  of 
Los  Angeles.  And  it  is  this  practice  that 
must  be  stopped.  Our  readers  are_  asked 
to  communicate  full  details  of  such  vic¬ 
timisation  for  our  investigation  and 
further  action. 


13 


THE  MOTION  PICTURE  STUDIO 


August  26,  1922 


ZltA&hJl  tfijzc/ 

N 


<z/u&  a/rucl  — - 

E  W  S  OF  A  L  L  THE  CURRENT 


Artistes  and  others  who  desire  to  have  their 
movements  recorded  in  this  feature,  can  obtain 
a  supply  of  postcards  for  this  purpose,  free 
of  charge,  on  application  to  this  office 


J.  A.  Dennis  is  playing  in  “The  Romany,” 
for  Welsh  Pearson. 

Grali ame  Cutts  is  to  direct  “Paddy,  the 
Next  Best  Thing,”  at  Islington. 

Cant.  Calvert,  of  Gaumont,  is  casting  for 
a  new  production  for  that  company. 

Charles  West  is  playing  in  “The  Romany  ” 
for  Welsh  Pearson  (Bramlin’s  booking). 

Bert  Wynne  has  been  directing  “Burning 
Sand"  for  International  Artistes  at  Bushey. 

Doris  Eaton  has  been  playing  for  Inter¬ 
national  Artistes  in  “Burning  Sand”  at 
Bushey. 

Agar  Lyons  has  secured  a  part  in  the  new 
Welsh  Pearson  film, “The  Romany,”  through 
Bramlins. 


FILM  FOOD 

AKE  a  generous  cup  of  Romance, 

Add  a  sprinkling,  too,  of  Tears — 

Whip  together  until  Dreamy 
With  a  teaspoonful  of  Fears. 

Sift  in  Love  and  Conflict  plenty, 

Flavour  well  with  Mystery — 

Make  your  Plot  a  cake  of  Laughter 
Which  will  live  in  History  ! 

Test  the  oven  of  your  Plotting 
With  the  broomstraw  of  Suspense; 

Spread  in  tins  of  brightest  Intrigue — 

Just  enough  for  Common  Sense! 

Make  your  Theme  the  sweetened  frosting 
Which  shall  clothe  your  cake  of  Thought, 
Spread  it  with  the  knife  of  Wisdom 
Which  the  years  to  you  have  brought ! 
When  your  cake  is  baked  and  cooling, 

Do  not  put  your  tins  away, 

Bake  another — bigger — better — 

Than  the  Cake  of  Yesterday! 

— Camera. 


Charles  Stevens  is  playing  in  “The 
Romany”  for  Welsh-Pearson  (Bramlins' 
booking). 

James  Knight  is  playing  for  Master’s  in 
“Playing  the  Game,”  a  new  short  sporting 
feature. 

Watts  Phillips  is  playing  in  “The 
Romany,”  for  Welsh  Pearson  (Bramlin’s 
booking). 

Charles  Bishop  was  engaged  to  play  for 
Welsh  Pearson  in  “  The  Romany  ”  by 
Bramlin’s. 

H.  B.  Parkinson,  of  Master  Films,  is  cast¬ 
ing  for  “A  Gamble  With  Hearts,”  a  new 
five-reeler. 

Lilian  Douglas  was  engaged  by  Sidney 
Jay  to  play  for  Davidson  in  that  company’s 
latest  production. 

Billie  Vernon  was  engaged  to  play  for 
Davidson’s  in  the  new  sporting  picture, 
through  Jay’s  Agency. 

Julian  Royce  was  engaged  through  Jay’s 
Agency  to  play  for  British  Super  Produc¬ 
tions  in  “Let’s  Pretend.” 


Harold  Shaw  has  gone  to  America. 

Frank  Zeitlin  left  for  the  States  this 
week. 

Ward  McAllister  is  playing  in  the  new 
Master  subject  “Playing  the  Game.” 

Peggy  Carlisle  has  been  playing  for 
Masters  in  “A  Race  for  a  Bride.” 

Ida  Fane  was  engaged  by  Bramlin’s  to 
play  in  “The  Romany,”  for  Welsh  Pearson. 

Milton  Ilosmer  has  been  engaged  to  play 
for  Master’s  in  “A  Gamble  With  Hearts.” 

Martin  Walker  is  to  direct  “There  and 
Back,”  for  Walker-Boyd  Sunshine  Produc¬ 
tions  . 

Mae  Marsh  has  returned  to  America  after 
having  completed  her  role  in  “Flowers  of 
Passion.” 

Howard  K.  Symons  has  been  playing  in 
Davidson’s  new  sporting  feature  (Jay’s 
booking). 

G.  Dorrington  was  engaged  by  Bramlin’s 
to  play  in  “The  Romany”  for  Welsh 
Pearson. 

Madge  Stuart  is  to  play  for  Master  Films 
in  “A  Gamble  With  Hearts,”  a  five-reel 
subject. 

Rene  Ridge  well  has  secured  a  part  in 
“The  Romany  ”  for  Welsh  Pearson  through 
Brainlin’s. 

Summers  Bellamy  was  engaged  by  Sidney 
Jay  to  appear  in  Davidson’s  new  sporting 
picture. 

Adelqui  Millar  is  to  direct  another  pro¬ 
duction  for  Adelqui  Millar  Productions 
shortly. 

Walter  G.  Summers  is  now  engaged  upon 
the  adaptation  of  “The  Right  to  Strike,” 
for  British  Super  Films. 

Laurence  Foster  has  been  fixed  up  by 
Bramlin’s  to  play  for  Welsh  Pearson  in 
“The  Romany.” 

Marjorie  Hume  has  been  engaged  to  play 
in  “The  Scientist,”  Capt.  Calvert’s  new 
Gaumont  production. 

Arm  Forrest  has  returned  to  America  to 
appear  in  the  interiors  of  “If  Winter 
Comes,”  for  Fox. 

Christobel  Lowndes  Yates  has  been  com¬ 
missioned  to  write  up  films  in  “The  Writers 
and  Artistes  Year  Book  for  1923. 

Mary  Clare  is  sorely  represented  by  H.  B. 
Lestocq,  of  Screen  and  Stage  Booking 
Offices,  66,  Shaftesbury  Avenue,  W.I.,  and 
all  communications  regarding  her  should 
be  sent  to  that  address. 

Frank  Keyeg  is  the  author  of  a  featured 
article  in  the  August  number,  Drawing 
(Hutchinson,  Is.  6d.  net),  on  the  artistic 
openings  in  the  film  world. 

Robert  English  has  now  completed  his 
contract  as  understudy  to  C.  V.  France,  in 
“Husbands  Are  a  Problem,”  and  is  at 
liberty  for  film  work. 

Douglas  Munro  lias  just  completed  his 
part  of  Dncle  Jeremy  in  the  Ideal  film, 
“The  Grass  Orphan,”  and  is  now  engaged 
to  play  for  Henry  Edwards  in  his  new 
Hepworth  production,  which  is  to  be  a 
sequel  to  “The  City  of  Beautiful  Nonsense.” 


Roy  Byford  is  playing  in  the  new  Punch 
Film,  “Treasure  Trove.” 

Gordon  Hopkirk  is  playing  for  B.  and  C. 
in  “The  Flight  of  the  King.” 

Challis  Sanderson  has  been  directing  “A 
Race  for  a  Bride,”  for  Masters. 

Cynthia  Murtagh  is  with  B.  and  C.  in 
“The  Flight  of  the  King.” 

Frank  Stanmore  is  with  Punch  Films 
appearing  in  “Treasure  Trove.” 

Margaret  Dean  was  engaged  by  Bramlin’s 
to  play  in  “The  Romany,”  for  Welsh  Pear¬ 
son. 

Margaret  Dowden  is  playing  for  Welsh 
Pearson  in  “The  Romany  ”  (Bramlin  s 
booking). 

Florence  Maude  was  engaged  through 
Bramlin' s  to  play  in  “The  Romany,  ’  for 
Welsh  Pearson. 


IN  THE 

Recently,  in  these  pages,  we 
directors  to  take,  make  and  shape  the 
There  was  no  need,  was  the  argument’ 
to  the  stage  for  stars  :  there  are 
making — already  waiting  within  the 
publish  the  photographs  and  record 

III. — HUGH 

^VNE  of  the  best  known  character  actor* 
that  has  migrated  from  the  theatrical 
world  to  the  screen  is  Hugh  E.  Wright. 
While  still  a  comparatively  young  man, 
Hugh  E  Wright  is  the  fortunate  possessor 
of  a  wealth  of  experience  of  both  the 
stage  and  the  studio. 

He  is  of  French  bjrth,  having  been  born 
in  Cannes  in  the  South  of  France,  but  is 
of  British  parentage.  For  some  consider¬ 
able  time  he  was  connected  with  the  stage 
both  as  an  actor  and  as  a  lyric  writer. 
He  wrote  many  of  the  famous  lyrics  that 
were  incorporated  by  Pelissier  in  his 
“  Follies  ”  programs. 

It  was  in  1917  that  Hugh  E.  Wright 
commenced  his  screen  career  :  this  was 
with  Welsh-Pearson  in  “The  Better  ’Ole,” 
with  the  late  Chas.  Rock.  Two  other 
films — “Kiddies  in  the  Ruins”  and  “The 
Victory  Derby  ” — followed,  and  then 
came  “  Garryowen,”  which  George  Pear¬ 
son  directed.  Wright’s  work  in  this  was 
a  perfect  cameo. 

As  a  scenarist,  Hugh  E.  Wright’s  cap¬ 
abilities  have  never  yet  been  fully  de¬ 
veloped.  He  gave  a  revelation  of  what  he 
can  do  in  this  department  in  “  Nothing 
Else  Matters,”  on  the  story  and  scenario 
of  which  he  collaborated  with  George 
Pearson  as  well  as  playing  an  important 
character  part  in  the  film. 

As  “the  corner  man  ”  in  “The  Corner 
Man,”  Wright  played  a  part  with  which 
he  was  fully  conversant,  and  it  is  to  be 


14 


August  26,  1922 


THE  MOTION  PICTURE  STUDIO 


■eoAjoCt  &UU{  -otAa.  -ctovrvq 


MOVEMENTS  OF 

Bert  Darley  has  left  for  America  to  make 
a  new  film. 

lvv  Booker  is  playing  for  Punch  Films  in 
“Treasure  Trove.” 

Ned  Benson  was  engaged  by  Zeitlin  to 
play  for  Ideal. 

George  Wynn  is  starting  work  on  “Play¬ 
ing  the  Game,”  for  Masters. 

Ohallis  Sanderson  has  been  directing  “A 
Race  for  a  Bride,”  for  Masters. 

Collin  Hunter  has  been  engaged  by 
Zeitlin  to  play  for  Ideal  in  “The  Grass 
Orphan.” 

Joyce  Gayrnon  has  been  engaged  by 
Zeitlin  to  play  for  Stoll  in  Sinclair  Hill’s 
new  film. 

Kate  Guerney  has  been  engaged  to  play 
for  B.  and  C.  in  one  of  the  new  “Romance 
of  History  ”  series. 


STARRY  WAY 

published  an  article  pleading  with 
screen  talent  that  lay  ready  at  hand, 
for  directors  to  go  to  America  or 
undiscovered  stars — stars  in  the 
doors  of  the  studio.  We  propose  to 
of  some  such  week  by  week. 

E.  WRIGHT 

regretted  that  this  film  has  not  yet  heen 
ieleased  as  it  shows  Hugh  E.  W  right  in 
one  of  his  best  characterisations.  He 
ppears  in  “  Squibs  ”  for  Welsh-Pearson, 
and  his  latest  and  greatest  hit  is  as  the 
tramp  with  Victor  McLaglen  in  “The 
Sailor  Tramp.”  He  is  now  playing  one 


of  the  leads  in  “Squibs  Wins  the  Calcutta 
Sweep” — a  sequel  to  “Squibs” — for 
Welsh-Pearson. 

Hugh  E.  Wright  is  of  medium  height, 
rugged  cast  of  features  and  is  at  his 
best  in  cockney  or  workman,  or  similar 
parts.  His  address  is,  “  Mayfields,”  Low- 
field  Heath,  near  Crawley,  Surrey,  and 
he  is  a  member  of  the  Kinema  Club. 


Sylvia  Caine  js  to  play  in  “Nell  Gwynne, 
for  B.  and  C. 

E»  J.  Collins  directed  “Quitter  Grant,” 
for  Master  Films. 

Fred  Raines  has  been  playing  in  “Nell 
Gwynne,”  for  B.  and  C. 

Arthur  McLaglen  has  been  playing  for 
Masters  in  “Quitter  Grant.” 

Dorothy  Easton  is  playing  for  Punch 
Films  in  “Treasure  Trove.” 

George  Bishop  has  been  playing  for 
Masters  in  “Molly’s  Marathon." 

Ivy  Close  has  been  playing  for  Walter 
West  in  “The  Pruning  Knife.” 

Frank  Miller  is  directing  “Treasure  Trove,” 
a  comedy  serial  for  Punch  Filins. 

Jack  Trevor  was  engaged  by  Zeitlin  to 
play  in  Sinclair  Hill’s  new  Stoli  production. 

George  Harris  is  playing  in  the  new 
British  Super  Production.  “Castles  in  the 
Air.” 

Eliot  Stannard  is  writing  the  scenarios 
of  the  B.  and  C.  “Romance  of  History” 
series. 

Dennis  Neilson-Terry  is  playing  Charles 
II.  in  “The  Flight  of  the  King,”  frr  B. 
and  C. 

Jack  Bloomfield  has  been  playing  in 

Master  Films  latest  subject,  “Quitter 
Grant.” 

Hugh  Miller  is  back  from  Swenden,  where 
he  has  been  playing  in  a  new  Swedish  pro¬ 
duction. 

George  Harvard  has  been  secured  by 

Bramlins  to  play  for  Welsh-Pearson  in  “The 
Romany.” 

Doriena  Shirley  has  been  engaged  to 

play  for  Sinclair  Hill  in  his  new  Stoll 
production. 

Nancy  Simpson  is  playing  in  “The 
Romany,”  for  Welsh  Pearson  (Bramlin’s 
bookings). 

Beryl  Norton  is  doing  some  swimming 
arid  diving  stunts  for  Arthur  Rooke  in 

the  new  Davidson  film. 

Frances  Innys  has  been  working  down  at 
Bushey  in  the  new  International  Artistes’ 
subject,  “Burning  Sand.” 

Kate  Gurney  is  playing  for  B.  and  C. 
in  one  of  the  new  B.  and  C.  productions, 
“The  Flight  of  the  King.” 

Warwick  Warde  was  engaged  through 
Zeitlin's  Agency  to  play  for  Sinclair  Hill 
in  his  new  Stoll  production. 

Meggie  Alban  esi  is  now  back  from 
Sweden,  where  she  has  been  playing  in  a 
Victor  Seastrom  production. 

Annette  Benson  has  been  engaged  through 
Zeitlin’s  Agency  to  play  in  “The  Harbour 
Lights,”  for  Ideal  (Tom  Terriss  direction). 

Matheson  Lang  is  still  in  Sweden  work¬ 
ing  on  a  sea  story  for  Swedish  Biograph, 
in  which  Victor  Seastrom  and  Jenny 
Hasselqvist  also  appear. 


Jack  Miller  is  appearing  in  the  new  Pum  li 
film,  “Treasure  Trove.” 

Charles  Olive  has  been  playing  in  the 
new  Rainbow  comedies. 

Lilian  Hall  Davies  is  playing  for  British 
Supers  in  “Let’s  Pretend.” 

Fred  Percy  is  playing  in  the  new  Punch 
comedy,  “Treasure  Trove.” 

Mary  Rorke  is  to  play  for  British  Supers 
in  its  new  production,  “Let’s  Pretend.” 

Pam  Bruce  has  been  playing  in  “Hide 
and  Seek,”  for  Walker  Boyd  Productions. 

Frank  Canham  has  been  photographing. 
“Treasure  -Trove,”  for  Punch  productions. 

J.  S.  McWilliams  has  been  playing  in 
the  new  Punch  comedy  serial,  “Treasure 
Trove.” 

II.  B.  Parkinson  is  directing  “Rowing  to 
Win,”  the  first  of  a  new  Master  series  of 
sporting  dramas. 


TRADE  SHOW 
GUIDE 

T  STUART  BLACKTO'N’S  super-pro- 
**  *  duction  is  the  only  British  film  due  for 
showing  this  week. 

Georges  C'arpentier  and  Flore  le  Breton 
play  the  leading  roles  in 

“A  Gypsy  Cavalier." 

They  are  supported  by  Simeon  Stuart, 
Maisie  Fisher,  William  Luff,  Nell  St.  John 
Montague,  Charles  Stuart  Blackton,  W.  D. 
U.  Knox,  Norma  Whalley,  Mary  Clare, 
Rex  McDougall,  Hubert  Carter,  A.  B. 
Imeson,  Percy  Standing,  Henry  Latimer, 
Stacey  Gaunt,  Tom  Coventry,  Ronald 
Buchanan,  Bert  High,  Jeff  Barton,  Kate 
Stafford,  Somers  Bellamy,  John  East  and 
James  English. 

Trade  Show — On  Thursday,  August  31, 
at  the  New  Gallery  Kinema,  Regent  Street, 
at  11  a.m. 


Ernest  Lilley  is  to  appear  in  “The 
Romany,”  the  new  Welsh-Pearson  film 
(Bramlins’  booking). 

Rov  Calvert,  who  has  been  playing  for 
Masters,  has  now  been  engaged  for  the  new 
E.  D.  Roberts  production,  “Hims — Ancient 
and  Modern.” 

Fatty  Phillips,  the  25  stone  comedian,  lias 
been  engaged  to  play  principal  comedian  in 
E.  D.  Roberts  new  production,  “Hims — 
Ancient  and  Modern.” 


COME  RIGHT  IN  ! 

It  you  are  passing,  or  if  you  want  to  ask 
a  question,  or  if  you  have  some  news,  or 
if  you  want  to  have  a  chat  over  the  busi¬ 
ness — come  right  in !  We  are  anxious  to 
maintain  close  personal  touch  with  all  our 
readers.  We  are  putting  you  first  all  the 
time — y0U  and  your  interests  are  our  chief 
concern,  and  we  want  to  emphasise  that 
you  have  a  perfect  right  to  come  in  and 
regard  our  time  as  being  at  your  disposal. 
Come  light  in  I 


STUDIO  PERSONNEL 


15 


THE  MOTION  PICTURE  STUDIO 


August  26,  1922 


CLUB  CLATTER 

by  CLATTER  BOX 


rjTHE  Bowling  Section  of  the  Kinema  Club 
took  two  rinks  of  players  to  Bromley, 
Kent,  on  Sunday  last,  and  on  the  green  of 
the  Bromley  Town  Bowling  Club  the 
opposing  side  fought  to  a  finish,  the  finish 
being  a  win  by  two  shots  for  Alec  G. 
Hunter’s  team.  The  opposing  teams  were 
composed  of  Chris  Walker,  G.  Bishop,  A. 
Walcott,  M  lax  well  Johnstone  (skip.),  and 
Burton  Craig,  M.  Oliver,  W.  Bailey,  Alec 

G.  Hunter  (skip.),  the  scores  being  19  for 
the  former  and  21  for  the  latter. 

A  numerous  party  of  Club  members  and 
friends  indulged  in  tennis  during  the  day 
on  the  courts  loaned  by  the  Bromley  Sports’ 
Club  for  rhe  occasion,  while  the  Club 
cricketers  were  meanwhile  being  defeated 
at  the  hands  of  the  Bromley  team,  the  score 
being  : — 

KINEMA  C.C. 

Cyril  Smith,  b.  Harrod  .  9 

Col.  English,  s.  Wyborn,  b.  Shoebridge  118 

K.  W.  Gordon  b.  Shoebridge  .  9 

N.  Bridgman,  c.  Colwell,  b.  Horton  ...  26 

Eric  Fane,  b.  Hole  .  21 

L.  B.  Lestocq,  b.  Herbert  .  1 

J.  Duddy,  b.  Herbert  .  0 

D.  Payne,  b.  Bailey  .  12 

H.  L.  Lucoque,  c.  Colwell,  b.  Shoebridge  8 

John  Stuart,  not  out  .  5 

Geoff.  Benstead,  b.  Bailey  .  0 

L.  C.  Whittam.  c.  Colwell,  b.  Bailey  ...  3 

Extras  .  38 

250 


BROMLEY  TOWN. 

E.  E.  Wyborn,  b.  Bridgman  .  8 

H.  W.  Long,  s.  Duddy,  b.  English  ...  67 

P.  G.  Cording,  b.  Bridgman  .  11 

S.  L.  R.  James,  b.  Bridgman  .  6 

W.  G.  Horton,  b.  Bridgman  .  3 

W.  T.  Wood,  lbw.  b.  Lucoque  .  75 

W.  Hole,  b.  Bridgman  .  .  5 

F.  Shoebridge,  c.  and  b.  Bridgman  ...  27 

C.  W.  Harrod,  run  out  .  22 

W.  Herbert,  not  out  .  17 

F.  Colwell,  not  out  .  1 

Extras  .  23 

255 

H.  Bailey  did  not  bat.  Bromley  Town 
won  by  two  wickets. 

Thanks  are  due  to  the  Bromley  Town 
Sports  Club  for  the  hospitality  it  showed  in 
entertaining  the  Club  members.  The  day 
was  a  huge  success,  weather  and  everything 
combining  to  make  it  a  most  enjoyable 
affair. 

The  Kinema  Club  played  the  Hampstead 
Nomads  on  Saturday  last.  The  two  teams 
met  on  the  Club  grounds  at  East  Dulwich; 
the  scores  being  as  follows  : — 

HAMPSTEAD  NOMADS. 

M.  H.  C.  Doll,  lbw.,  b.  Fane  .  10 

J.  M.  Clay,  b.  Gordon  .  9 

R.  C.  A.  Kerr,  c.  Fane,  b.  Gordon  .  24 

H.  G.  Bloodworth.  run  out  .  19 

L.  D.  Matthews,  c.  Ham,  b.  Gordon  ...  40 

C.  H.  Gaywood,  b.  Gordon  .  61 

G.  E.  Toller,  not  out  .  19 

Extras  .  45 

*  Innings  declared.  *  227 


KINEMA  CRICKET  CLUB. 

Colonel  English,  b.  Kerr  .  4 

Eric  Fane,  s.  Matthews,  b.  Caulfield  ...  0 

Frank  Harris  s.  Matthews,  b.  Caulfield 
Burrington-Ham,  s. Matthews,  b.  Caulfield 

K.  W.  Gordon,  b.  Kerr  . 

Chris  Walker,  run  out 


0 

0 

IS 

1 


D.  Gawler,  b.  Caulfield  .  3 

D.  Payne,  c.  Doll,  b.  Caulfield 

J.  Stuart,  b  Kerr  . 

E.  J.  Stuart,  b.  Kerr  . 

E.  Rowcliffe,  not  out 


18 
16 

.  0 

.  1 

Extras  .  7 


68 

Hampstead  Nomads  won  by  159  runs. 

I  was  fortunate  enough  to  be  able  to  be 
present  at  the  dance  last  Saturday  night 
and  enjoyed  myself  immensely.  Pat 
Mannoch  (piano),  Frank  Canham  (banjo), 
ana  an  unnamed  gentleman  from  Bramlins 
on  the  drum,  supplied  the  music.  One  of 
the  features  of  the  evening  was  the  moon¬ 
light  dance — this  being  deftly  manufactured 
by  turning  out  several  of  the  lights.  There 
is  another  dance  to-night  (Saturday),  and  1 
strongly  advise  all  members  to  get  to  it,  as 
a  jolly  evening  is  dead  certain. 

More  money  has  been  received  on  account 
of  “  The  Crimson  Circle,”  and  Granger  is 
making  every  effort  to  ensure  it  being  a 
commercial  success.  The  Trade  show  will 
take  place  on  October  5 ;  time  and  place  to 
be  announced  later. 

Members  will  be  interested  to  learn  that 
the  Presidency  of  the  Club  has  been  ac¬ 
cepted  by  A.  G.  Granger,  the  managing 
director  of  Granger’s  Exclusives,  the  renting 
firm  which  is  handling  “  The  Crimson 
Circle.”  


KNIGHTON  Played  Butler  in  “  Flames  of  Passion,” 

Cl\/I  AT  T  ”  ”  ”  “If  Winter  Comes,” 

OMALL  also  ,,  ,,  ,,  “  The  Pruning  Knife.” 

Corns.  :  59,  GLOUCESTER  CRESCENT,  REGENTS  PARK. 

Phone  :  Hampstead  889. 


HENRY  VIBART 


ALBAN  ATWOOD 


Lord  Mayor  of  London 


IN 


“Flames  of  Passion” 


Late  of  Masters,  Ideal,  British 
Actors,  Homeland,  etc.,  etc.,  and 
all  leading  London  Theatres, 
including  Kingsway,  Adelphi, 
Haymarket,  Garrick,  etc.,  etc. 


MIDDLE-AGED  ARISTOCRATIC  PARTS. 


Address — 

25,  Stanley  Crescent,  W.ll. 


’Phone:  Park  2892. 


IN 


“Flames  of  Passion.” 

Latest  Productions — 

The  Bohemian  Girl ,  ”  “  Sonia, 

The  Bargain ,  ’  ’  ‘  ''Justice  Raffles , 
‘'''Bill  of  Divorcement .  ” 

24,  Cleveland  Road,  Barnes,  5.W.13. 


16 


August  26.  1922 


THE  MOTION  PICTURE  STUDIO 


MAE  MARSH  SAYS  “ADIEU” 

Farewell  Dinner  and  Speeches 


HOW  TO 

GET  THERE 

ROUTES  TO  THE  STUDIOS 

Stoll. — Bus  No.  16. 

Screenplays.— Bus  Nos.  5,  32,  67,  80,  88. 
Trams  2,  4,  6,  8. 

Davidson. — Bus  Nos.  35  and  38.  Trams 
81,  55,  57. 

G.E.R.  from  Liverpool  Street  to  Lea 
Bridge  Road.  Fares:  1st  Is.  2d.,  2nd 
lOgd.,  3rd  7d.  R.T.,  1st  Is-  9d.,  2nd  Is. 
4d,  3rd  10^d.  A.m.,  10.34;  p.m.,  1.20, 

3.5,  4.37,  6.27,  8.5. 

Lea  Bridge  to  Liverpool  Street:  P.m-, 

1.4,  5.27,  5.54,  6.29,  7.7,  8.4,  8.57,  10.4. 
Walter  West. — Bus  Nos.  27,  105. 

Broad  Street  to  Kew-  Fare:  1st  Is.  4d., 
3rd  9d.,  R.T.,  1st  2s.  Ojd.,  3rd  Is.  4d. 
A.m.,  8.2  8.20,  8.45,  9.0,  9.47,  10.17,  10.47, 

11.17,  11.47;  p.m.,.  12.17,  12.47,  1.17,  1.47, 

2.17,  2.47,  3.17,  3.47,  4.17,  4.31,  5.3,  5.17, 
5.32,  5.40  6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 
8.47,  9.17,’  9.30. 

Kew  Bridge  to  Broad  Street:  A.m., 
9.40,  10.8.  10.38,  11.8,  11.38;  p.m.,  12.8, 

12.38,  1.8,  1.33,  2.8.  2.38,  3.8,  3.38,  4.8,  4.38, 

5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20,  6.38,  7.8, 

7.38,  8.8,  8.38,  9.8,  9.38- 
B.  and  C.  Studio. — Bus  38.  Tram  81  to 

Bakers’  Arms.  G.E.R.,  Liverpool  Street 
to  Hoe  Street.  Fare:  1st  Is.  2d.,  2nd 
10^d-,  3rd  7d.  R.T.,  1st  Is.  9d.,  2nd 
Is.  4d.,  3rd  lOjd. 

From  L.S. :  A.m.  7.58,  then  every  few 
minutes  until  p.m.,  9.5,  9.20,  9.35,  9.50, 

10.5,  10.20,  10-35,  10.50,  11.5,  11.20,  11.35, 
11.50;  12.5,  12.35  midnight. 

Hoe  Street  to  L.S. :  A.m.,  7.53,  8.2, 
8.8.,  then  every  few  minutes;  p.m.,  8.20, 
8.35,  8.50,  9.6,  '9.20,  9.35,  9.49,  10.6,  10.20, 
10.36,  10.50,  11.6,  11.20,  11.35.  12.2. 
Alliance. — Bus  33a,  37.  Trains  from 

Waterloo  to  St.  Margaret’s.  Fare:  1st 
2s.  Ogd.,  3rd  Is.  0i,d. ;  R.T.,  1st  3s.  Id., 
3rd  2s.  Id. 

From  Waterloo:  A.m.,  every  10 
minutes;  from  St.  Margaret’s  every  10 
minutes- 

F.P.-Lasky. — Tram  No.  11. 

Welsh  Pearson. — Bus  No.  18. 

British  Super. — Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central  Lon¬ 
don  and  Met.). 

From  Waterloo  to  Isleworth.  Fare: 
1st  Is-  Oid.,  3rd  9d. ;  R.T..  1st  Is.  9d., 
3rd  Is.  6di;  a.m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes  past  each 
hour  until  11.51  p.m.  Extra  trains, 
4.43,  5.13.  5.43,  6-13,  6.43,  7.13 
Isleworth  to  Waterloo:  8.33,  8.44,  9.3, 
9.14,  9.33,  9.44,  10.14,  10.44.  Same  minutes 
past  every  hour  until  10.44,  11.14  p.m. 
Extra  trains  5.30,  6.0,  6.30. 

Master.— From  Waterloo  to  Teddington. 
Fare:  1st  2s.  7Jd.,  3rd  Is.  4d.;  R.T.,  isc 
4s.  4gd.,  3rd  2s.  8d.  From  Waterloo, 
a.m.,  7.55.  Then  trains  every  few 

minutes  until  11.55  p.m.  From  Ted¬ 
dington,  a.m.,  7.51.  Then  trains  every 
few  minutes  until  11.1,  11.16,  11.51  p.m. 
Bus  27. 

Gaumont. — Bus  Nos. "12.  17,  and  train  from 
Shepherd’s  Bush  Station  (Met.). 
Hepwcrth. — From  Waterloo.  Fare:  1st 
4s.  llid.,  3rd  2s.  6d. ;  R.T.,  1st  7s.,  3rd 
4s.  4Jd. 

From  Waterloo:  A.m.,  7.0,  8.0,  9.20, 

10.20,  11.20;  p.m..  12.20,  1.20,  2.20,  3.20, 

4.20,  4.54,  5.15,  5.20,  5.44,  5.54.  6.15,  6.20, 
7.0,  7.20,  8.20,  8.55,  9.20,  10.20.  11.34. 

From  Walton  :  7.59,  8.29,  8.41,  8.56,  9.9, 
9.46,  10.10,  11.10;  p.m.,  12.10,  1.10,  2.10, 

3.10.  4.11.  5.10,  5.44,  6.10,  7.10,  8.10,  9.10, 

10.10,  10.35,  11.34. 


Ideal.- 

—Trains 

from 

St. 

Paneras. 

Fare : 

1st  2s.  lid., 

3rd  Is 

.  9£. 

d;  R 

.T„  double 

fare. 

A.m. 

,  7.30, 

8.0, 

8.50, 

9.55, 

10.45, 

11.40; 

p.m., 

12.33.  : 

1.13, 

2.35, 

3.55, 

4.45, 

5.12, 

6.2,  6.43 

1,  6.48, 

7-15. 

,  8.8. 

9.18, 

10.35, 

11.35. 

From  Elstree  to 

Si 

.  Paneras : 

9.48, 

10.39, 

11.25. 

12.31, 

1.8, 

2.15, 

,  3.7, 

3.56, 

4.37. 

5.29,  6.21,  6.25 

7 

.36, 

8.49, 

10.14, 

10.56. 

mark  the  conclusion  of  her  work  in 
“  Flames  of  Passion,”  a  farewell  din¬ 
ner  was  held  at  the  Criterion  on  Tuesday, 
with  Mae  Marsh  as  the  guest  of  honour. 
The  company  was  composed  of  the  leading 
Press  representatives,  Eva  Moore,  Herbert 
Wilcox  (Astra  Films)  and  Sidney  Jay. 
G.  A.  Atkinson  ( Daily  Express)  presided. 

During  the  speech-making  that  followed 
the  dinner,  when  expressions  of  regret  at 
the  departure  of  Miss  Marsh  were  gener¬ 
ally  voiced,  Herbert  Wilcox  paid  a  great 
tribute  to  the  resourcefulness  and  initia¬ 
tive  of  Sidney  Jay,  who  had  secured  the 
services  of  Miss  Marsh.  It  transpired 


ARTISTIC  FILMS,  LTD., 
says : — 

I  certainly  think  it  an  excellent  idea 
to  enlarge  the  “  Artistes’  Cards  Sec¬ 
tion  ”  of  the  “  Motion  Picture  Studio.” 
Personally,  I  always  refer  to  this  page  of 
your  Journal  when  casting.  I  should 
like  to  suggest,  particularly  to  character 
artistes,  that  they  make  more  use  of  this 
splendid  medium  for  keeping  in  touch 
with  directors — the  cost  of  the  insertions 
would  soon  be  covered  by  the  saving  in 
agents’  fees. 

Yours  faithfully. 


that  Mr.  Jay  had  gone  out  to  America  with 
no  direct  power  of  attorney  nor  scenario 
and  had  persuaded  Miss  Marsh — who  at 
first  was  opposed  to  the  idea — to  come  to 
England  to  work  for  a  firm  of  whom  she 
knew  nothing,  and  in  a  part  of  which  she 
knew  still  less.  Mr.  Wilcox  publicly 
thanked  Mr.  Jay  for  these  fine  services. 

Herbert  Cutts  referred  to>  certain 
rumours  that  had  been  going  around  to 
the  effect  that  Mae  Marsh  was  tempera¬ 
mental,  and  repeatedlv  refused  to  leave  her 
dressing-room  and  held  up'  the  whole  pro¬ 
duction  on  several  occasions.  In  direct 
opposition  to  these  groundless  rumours, 
Mr.  Cutts  explained  that  Miss  Marsh  had 
worked  22  hours  a  day  when  occasion 
arose ;  that  there  were  several  times  when 
she  deliberately  turned  her  back  to  trie 
camera  so  that  the  British  artistes  could 
obtain  prominence  in  the  scenes  ;  and  that 
one  day,  when  the  director  suggested  miss¬ 
ing  certain  scenes  because  the  other  artiste 
with  Miss  Marsh  had  to  leave  town  at  ten 
in  the  morning  to  fulfil  another  engage¬ 
ment,  Miss  Marsh  had  offered  to  get  up 
af  dawn  so  that  the  scenes  could  be  shot, 
and  that  this  was  done  with  Miss  Marsh 
on  the  lloor  at  7  a.m. 

Mr.  Arms  (husband  of  Miss  Marsh) ’in 
the  course  of  a  thought-provoking  speech, 
stated  that  he  believed  in  British  films,  not 
only  for  their  entertainment  quality  but 
because  of  the  powers  that  they  possessed 
for  consolidating  Anglo-Saxon  elements  in 
England  and  America. 

Sidney  Jay  paid  a  glowing  tribute  to  the 
charming  manner  in  which  Miss  Marsh 
had  allowed  him  to  undertake  all  the 


negotiations.  He  stated  that  she  had 
always  been  kind  and  considerate  to  all 
the  artistes  with  whom  she  had  to  work 
while  at  the  studio,  and  he  hoped  that  she 
would  soon  return. 

Ernest  G.  Allighan  was  of  the  opinion 
that  rumours  of  the  kind  referred  to  by 
Mr.  Cutts  were  so  obviously  groundless 
that  they  deserved  ignoring.  On  behalf  of 
the  British  film  artistes  lie  wished  Miss 
Marsh  oon  voyage ,  and  pointed  out  that 
nothing  but  good  could  result  by  the  intro¬ 
duction  of  such  eminent  stars  as  Miss 
Marsh  at  this  juncture.  The  British  film 
Industry  would  benefit,  if  only*  by  virtue  of 
the  fact  that  thesie  favourites  of  the 
Ameiican  public  ensured  their  British  films 
getting  into  the  American  market,  and  b\ 
thus  opening  that  door  the  whole  of  the 
British  Industry  and  those  engaged  in  it 
would  prosper. 

Mae  Marsh,  in  a  few  aptly-chosen  re¬ 
marks,  thanked  the  gathering  for  their 
complimentary  words  and  sent  her  thanks 
and  good  wishes  to  all  who  had  helped 
make  her  stay  in  this  country  so  enjoy¬ 
able. 

During  the  evening,  Herbert  Wilcox  an¬ 
nounced  that  he  had  purchased  the  film 
rights  of  “  Paddy  the  Next  Best  Thing,” 
and  the  gathering  was  agreed  that  the 
ideal  “  Paddy  ”  was  Mae  Marsh.  It  now 
depends  on  D.  W.  Griffith,  to  whom  Mae 
Marsh  is  under  contract. 


COMEDY  OR  TRAGEDY  ? 

The  question  is  asked:  “What  is  wrong 
with  the  film-producing  Industry  in  this 
country?”  and  the  answer  is,  “Want  of  an 
open  market  for  artistes.” 

Film  production  is  a  business,  and  if 
friendship  is  brought  into  it  I  defy  it  to 
be  a  monetary  success.  At  present  it  is  a 
closed  one,  and  011  the  entrance  gates  of 
this  market  is  posted  up:  “No  one  allowed 
to  enter  here  unless  friends  and  pals  of 
directors  and  agents. 

The  artiste  inquires  at  the  gates,  and  the 
gate  porter  (usually  an  agent),  in  answer  to 
your  request  to  enter,  looks  you  through 
and  through,  and  says,  “Yes,  yon  are  a 
great  type  and  a  wonderful  personality,  and 
seem  to  have  every  qualification,  but  I  am 
very  sorry  I  cannot  let  you  enter,  as  you 
are  not  known  as  friend  or  pal  to  the  mem¬ 
bers.” 

The  game  then  turns  to  finance,  and  after 
several  fairy  tales,  told  in  glowing  colours  to 
the  City  financial  magnates,  they  hook  the 
dupes,  their  purse  strings  open,  and  in  fly 
the  Bradburys. 

Now,  then,  for  the  finale:  The  ball  opens 
and  the  feast  commences.  All  friends  and 
pals  are  roped  in.  Money  ad  fit.— squan¬ 
dered  (generally  is  so  when  these  deini-gods 
are  handling  money  not  their  own).  The 
result  comes,  and  great  mutual  admiration 
among  the  members. 

“  Great  cry  and  little  wool” — lo,  it  is  a 
failure.  General  bust  up — explosion — bang  ! 

Stars  fall — leaving  financiers  and  people 
wondering  if  this  old  film  globe  of  ours  is 
not  coming  to  an  untimely  end. — “  Ex- 
perientia,  Docet.” 


17 


THE  MOTION  PICTURE  STUDIO 


August  26,  1922 


CAMERAMEN’S  SECTION 

News  and  Views 
and 

Record  of  Activities  of  K  i  n  e  -  C  a  m  e  r  a  m  e  n 


INCENTIVES  TO  ORIGINALITY 


THERE  are  many  cameramen  in  England  who,  although  considered  quite 
experts  in  their  own  particular  line,  never  seem  to  get  any  further  than 
that.  We  never  see  in  England  work  like  that  turned  out  by  Bitzer  and 
other  cameramen  in  the  States.  The  English  photography  is  characterised 
by  its  straightforwardness.  It  is  seldom  we  see  in  an  English  picture  any  attempt 
to  introduce  something  different  from  a  photographic  standpoint.  It  is  always 
the  same  old  effects  served  up  in  the  same  old  way.  Perhaps  it  is  that  in  America 
the  cameraman  is  given  more  encouragement  to  introduce  novel  lighting  effects 
and  other  photographic  stunts  ;  while  here  in  England  we  are  more  cautious 
and  seem  to  prefer  to  continue  along  the  same  old  lines,  without  ever  attempting 
anything  new. 

If  we  are  to  produce  photographic  genius  it  is  obvious  that  we  cannot 
go  on  for  every  taking  pictures  which  are  merely  sharp  and  in  focus.  We  must 
introduce  novelty  into  our  pictures  in  the  shape  of  cleverly  devised  effects,  novel 
photographic  angles,  etc.  To  do  this  it  is  necessary  to  have  the  assistance  of  the 
directors.  They  should  encourage  cameramen  in  this  direction.  Careful  composi¬ 
tion  ;  the  grouping  of  shadows  in  effective  manner,  can  increase  the  value  of  a 
production  a  hundred  fold.  In  encouraging  the  cameraman  to  attempt  such  the 
director  is  merely  doing  himself  a  good  turn,  for  if  we  can  once  get  our  cameramen 
to  start  up  in  this  direction,  it  will  greatly  assist  the  directors.  Where  would 
Griffith  or  any  other  big  man  be  if  his  cameraman  was  not  there  to  h°lp  him  get 
effects  ?  If  Griffith  cannot  make  masterpieces  without  photographic  effects,  then 
certainly  none  of  our  English  directors  can  do  so. 

We  have  no  doubt  but  that  our  cameramen  can  get  effects  equal  to  those  in 
any  picture,  but  they  need  encouragement  before  they  will  attempt  such  things. 
It  is  to  the  interests  of  the  directors  and  the  cameramen  to  advocate  such  a  state 
of  affairs  in  England. 


IRIS  IN  AT  HAMPTON  COURT 


up  HERE  is  no  doubt  that  when  the  cold 
grey  dawn  of  September  3  dawns,  there 
will  be  great  activity  among  the  members 
of  the  producing  profession.  The  9.15  from 
Waterloo  on  that  morning  will  sit  up  and 
take  notice  for  it  will  carry  fifty  or  sixty 
cameramen — celebrities  to  Hampton  Court, 
where  the  Princess  Beatrice  will  be  waiting 
to  take  the  Kine. -Cameramen  on  their 
first  outing. 

For  a  number  of  weeks  now  the  Kine. 
Cameramen’s  Society  has  been  arranging 
this  outing  and  it  is  hoped  that  it  will 
be  a  gigantic  success  and  that  every  camera¬ 
man,  whether  members  of  the  Society  or 
otherwise,  will  be  present,  and  will  bring 
their  friends  along  as  well.  Fifteen 
shillings  for  a  whole  day’s  outing  is  not  a 
fabulous  sum,  and  when  it  is  taken  into 
consideration  that  the  ticket  includes 


launch,  lunch,  and  tea,  it  must  be  admitted 
that  it  is  cheap  at  the  price.  Anyone  in 
the  film  business  can  purchase  tickets  and 
all  will  be  made  thoroughly  welcome. 

The  programs  are  being  supplied  as 
tickets.  We  submit  herewith  a  few  ex¬ 
tracts  from  same. 

On  Board.  (1)  Lunch  on  launch.  (Cheers.) 

(2)  Ale  on  sale.  (Thunderous  cheers.) 

(3)  Views  of  scenery.  Anyone  who  sees 
more  than  three  views  at  once  should  report 
to  the  secretary.  He  would  like  to  know 
now  it  is  done. 

At  Kunnymede — Sports.  Film  winding — a 
pathetic  sight.  Film  spoiling — lifelike  imita¬ 
tions.  Swinging  the  lead.  Swinging  the 
tripod.  Climbing  the  tripod.  Shooting  the 
tripod.  Hanging  the  tripod.  Pruning — with 
cameras.  Dancing — for  those  who  can 
stand.” 

5  p.m.  The  return.  Tea  and  ambulance 
on  board.  Chits  for  expenses  to  be  pre¬ 
sented  at  office  before  ten  next  day. 


CAMERAMEN 
AT  WORK 

TT'ENNETH  GORDON  has  been  away  on 
holiday,  and  consequently  has  not  been 
seen  lately  around  W ardour  Street,  or  at 
the  K.C.S.  meetings.  He  is  now  back  at 
work  again. 

Had  a  note  from  D.  P.  Cooper,  who  has 
been  filming  up  in  Iceland  for  Stoll.  It  is 
onlv  a  short  message,  which  states  that  he 
had  a  rough  passage  up  north.  I  under¬ 
stand  that  the  company  is  having  quite 
a  good  time  in  Iceland,  where  it  has  been 
well  received  by  the  inhabitants. 

Bert  Ford,  who  has  been  filming  for 
Walker  Boyd  Sunshine  Productions,  has 
now  completed  “Hide  and  Seek,”  that  com¬ 
pany’s  first  production.  In  the  meantime 
Ford  is  disengaged. 

A  great  stir  has  been  caused  in  American 
kinematographic  circles  by  the  discovery  of 
a  new  method  of  making  fog!  This  method, 

I  believe,  is  being  used  extensively  for 
fog  scenes  in  American  productions.  After 
the  expense  that  they  are  going  to  for 
machinery  to  create  fog,  we  in  England 
cannot  complain  when  we  always  have  a 
liberal  supply  of  this  very  useful  commodity. 

Percy  Strong  is  up  in  Scotland  at  the 
minute  filming  “The  Romany,”  for  Welsh- 
Pearson.  This  is  Strong’s  second  film  for 
the  company.  His  first,  “A  Sailor  Tramp,” 
received  some  very  complimentary  notices 
in  the  Press,  for  the  photography  was  of  a 
remarkably  high  standard  throughout. 

Theodore  Thumwood  claims  that  during 
the  last  few  months  more  films  have  passed 
through  his  camera  than  any  other  in 
England.  Thumwood  has  been  photograph¬ 
ing  exclusively  for  Master  Films.  The  “Tense 
Moments  from  Operas,”  “Tense  Moments 
from  Plays,”  “Trapped  by  the  Mormons,” 
“Married  to  a  Mormon,”  “Cocaine,”  are 
some  of  the  productions  he  has  filmed 
during  the  last  few  months.  Although  he 
has  been  turning  out  his  work  at  a  record 
speed  it  is  generally  admitted  that  it  ha? 
consistently  been  of  a  very  fine  nature. 

Leslie  Evelegh  is  working  down  at 
Davidson’s  on  “The  Sporting  Instinct,”  a 
new  Arthur  Rooke  production.  Evelegh  is 
one  of  the  few  cameramen  who  wnrks  hand 
in  hand  with  the  laboratories.  The  result 
of  his  system  can  be  judged  by  the  photo¬ 
graphic  work  turned  out  in  the  Davidson 
pictures. 

Frank  Canham  has  been  photographing 
for  the  new  Punch  Productions,  which  is 
making  a  coined v  serial  called  “Treasure 
Trove.” 

Walter  Blakeley  and  Silvano  Balhoni  have 
been  working  down  at  Windsor  Studios  on 
the  interiors  of  the  new  Fred  Le  Roy  Gran¬ 
ville  production,  “Shifting  Sand.”  I  have 
seen  a  number  of  stills  taken  in  Tripoli, 
and  must  say  that  they  are  striking.  A 
number  of  excellent  sunset  effects  have  also 
been  secured. 


FOR  HIS  OWN  GOOD 

every  Cameraman  should  join  the 

KINE-CAMERAMEN’S  SOCIETY 

President—  H.  A.  SANDERS.  Secretary — KENNETH  GORDON. 

18 


August  26,  1922 


THE  MOTION  PICTURE  STUDIO 


PRODUCTIONS  AND 


WHO 


IS  WORKING  ON  THEM 


Alliance  Film  Co. 

Studio  :  St.  Margaret’s,  Twicken¬ 
ham. 

Film  :  Not  announced. 

Director  :  Harley  Knoles. 

Stage  :  Starting  shortly. 

Artistic  Films,  Ltd. 

Address  :  93-95,  Wardour  Street, 
W.  1. 

Film  :  “  Skipper’s  Wooing.” 
Director  :  H.  Manning  Haynes. 
Stars  :  Johnnie  Butt,  Bobbie 
Rudd  and  Gordon  Hopkirk. 
Cameraman  :  Frank  Grainger. 
Scenarist  :  Lydia  Hayward. 

Type  :  W.  W.  Jacob's  Comedy. 
Stage  :  Sixth  week. 

Barkers. 

Address  :  Ealing  Green,  London, 
W.  5. 

Studio  :  Vacant. 

Baron  Films. 

Address  :  Barker’s  Studio,  Ealing 
Film  :  “  A  Sister  to  Assist  ’Er.” 
Director  :  George  Dewhurst. 
Stars  :  Mary  Brough  and  Polly 
Emery. 

Cameraman  :  G.  Pauli. 

Stage  :  Completed. 

Br  tish  and  Oriental. 

Address  :  B.  P.  Studios,  Thornton 
House,  Thornton  Road,  Clapham 
Park. 

Studio  being  used  by  Quality  Films. 

B  &  C.  Productions. 

Address  :  Hoe  St.,  Walthamstow. 
Film  :  Historial  Incidents. 
Director  :  George  Ridgwell. 
Cameraman  :  I.  Roseman. 

Type  :  One  reelers. 

Stage  :  One  a  fortnight. 

British  Productions. 

Address  :  Selborne  Road,  Hove. 
Film  :  “  The  Field  of  Honour.” 
Stage  :  Completed. 

British  Super  Films. 

Address  :  Worton  Hall,  Isleworth. 
Film  :  “  If  Four  Walls  Told.” 
Director  :  Fred  Paul. 

Stage  :  Completed. 


Film  :  “  Castles  in  the  Air.” 
Director  :  Fred  Paul. 

Stars  :  Nelson  Keys,  Lilian  Hall 
Davies,  Campbell  Gullen,  Mary 
Rorke  and  Julian  Royce. 
Cameraman  :  Sydney  Blythe. 
Scenarist  :  W.  G.  Summers. 

Stage  :  Second  week. 

Davidson 

Address  :  Lea  Bridge  Road,  E.  10. 
Film  :  “  The  Sporting  Instinct.” 
Director  :  Arthur  Eiooke. 

Stars  :  J.  R.  Tozer  and  Lilian 
Douglas 

Scenarist  :  Kinchen  Wood. 
Cameraman  :  Leslie  Eveleigh. 
Stage  :  Fourth  week. 

Edward  D.  Roberts  Productions 

Film  :  “  Hims  —  Ancient  and 

Modern.” 

Director  :  E.  D.  Roberts. 
Scenarist  :  C.  Lowndes  Yates  and 
Muriel  Allevne. 

Star  :  Athalie  Davis. 

Stage  :  Scheduled. 

F.  P.-Lasky. 

Address  :  Poole  Street,  Islington.  j 
Studio  being  used  by  Grahame  J 
Cutts. 


Gaumont. 

Studio  :  Lime  Grove,  Shepherd’s 
Bush,  W.12. 

Film:  “Rob  Roy.” 

Director  :  Will  Kellino. 

Star  :  David  Hawthorne. 
Cameraman  :  A.  St.  Brown. 

Type  :  Historical  drama. 

Stage  :  Cutting  and  Assembling. 

Film:  “  The  Scientist. ” 

Director  :  Capt.  Calvert. 

Star  :  Maiiorie  Hume. 

Stage  ;  Casting. 

Ceorge  Clark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Film  •  “  Maid  of  the  Silver  Sea.” 


Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Stage  :  First  week. 

Grarvile  Productions. 

Address  :  Windsor  Studios,  Cat- 
ford. 

Film  :  “  Shifting  Sands.” 
Director  :  Fred  Granville. 
Starring  :  Peggy  H3Tland. 

Type  :  Five  reel  drama. 

Stage  :  On  interiors  at  Catford. 

Grahame  Wilcox  Productions. 

Address  Poole  Street,  Islington. 
Film  :  “  Flowers  of  Passion.” 

Director  :  Grahame  Cutts. 

Star  :  Mae  Marsh. 


STUDIO  DIRECTORY 


Addresses  and  ’Phone  Nos.  of  all  British  Studios 


Alliance  Film  Co.,  St.  Margaret’s-oD- 
Thames.  ’Phone  :  Richmond  1945. 

Autistic  Films.  93-95,  Wardour  Street, 
W'l.  ‘Phone  :  Gerrard  321o. 

Barker  Motion  Photography,  Ltt>., 
Ealing  Green,  London,  W.5.  ’Phone  -. 
Ealing  211  and  1582 — Barmopho,  Ealux. 

British  &  Colonial  Kinematograph 
Co.,  Ltd.,  Hoe  Street,  Walthamstow, 
E.  17.  ’Phone  :  Walthamstow  364 
and  712. 

British  and  Oriental  Films,  Ltd., 
Thornton  House,  Thornton  Boad,  Clap- 
ham  Park.  ’Phone  :  Streatham  2652. 

British  Famous  Films,  Ltd.,  “Wood¬ 
lands,”  High  Road,  Whetstone,  K.20. 
Phone  :  Finchley  1297. 

British  Photoplays,  Devon  Chambers, 
28  Fleet.  Street,  Torquay, 

British  Super-Productions,  Worton 
Hall,  Isleworth.  ’Phone:  Hounslow  212. 

Davidson,  I.  B.,  588,  Lea  Bridge  Road, 
Leyton,  E.10.  ’Phone,  Walthamstow  634 

Famous  Playf.rs-Lasky  British  Pro¬ 
ducers,  Ltd.,  Poole  Street,  New 
North  Boad,  Islington,  N.l.  ’Phone  : 
Dalston  2770. 

Gaumont  Co.,  59,  Lime  Grove,  Shepherd’s 
Bush,  London,  W.12.  ’Phone  :  Hammer¬ 
smith  2090-1-2 - Prologue,  ’Phone 

London. 

Granville  Productions,  Windsor 
Studios,  Bromley  Road,  Catford.  ’Phone: 
Lee  Green  948, 

Granger — Binger,  Haarlem,  Holland. 
London  Office  :  Granger’s,  Exclusives, 
191,  Wardour  Street,  W.l.  ’Phone  : 
Gerrard  1081  and  1728.  Telegrams  : 
Exclugrang,  London. 

George  clark  Productions,  «7,  Berners 
Street,  W.l.  ’Phone  :  Museum  3012. 
Studio  :  Candlemass  Lane,  Bcacons- 
field. 

Glen  Film  Producing  Co.,  Ltd.,  20, 
Lisle  Street,  London,  W.C.,  and  “  Bel- 
grave,”  Marine  Terrace,  Aberystwyth. 

Hardy  Film  Co.,  Worton  Hall,  Isleworth, 
Middlesex.  ’Phone  :  Hounslow  212. 

Harma  Clarendon  Co  .  16  Limes  Road, 
Croydon.  ’Phone  :  Croydon  921  and 
2084 - Cinemat. 


Hepworth  Picture  Plays,  Ltd.,  Hurst 
Grwve,  Walton-on-Thames.  ’Phone  : 

M  alton-on-Thames  16 - Hepworth 

Walton. 

Ideal  Film  Co.,  Ltd.,  Boreham  Wood 

Elstree,  Herts.  ’Phone  :  Elstree  52 - 

Idefllms,  Borehamwood. 

International  Artists  Film  Co.,  Ltd., 
52  Shaftesbury  Avenue,  W.l. 

Isle  of  Man  Film  Co.,  The  Manx  Studios, 
Isle  of  Man. 

J.  Stuart  Blackton  Productions,  Bush, 
House,  Aldwvch.  ’Phone:  Central  1935’ 

Master  Films,  Weir  House,  Broom  Road. 
Teddington.  ’Phone  :  Kingston  1617. 

Minerva  Film  Co.,  Ltd.,  110,  Victoria 
Street,  S.W.l.  ’Phone  :  Victoria  7545. 

Progress  Film  Co., The  Beach,  Shoreham- 
ty-Sea,  Sussex.  ’Phone  :  Shoreham 
19. 

Quality  Films,  B  P-  Studios,  Thornton 
House,  Thhrnton  Rd.,  Clapham  park. 

Raleigh  King  Productions,  Watcombe 
Hall,  Torquay. 

Regulus  Films  :  48,  Carraby  Street 

Regent  Street,  W.l. 

Screenplays.  Ltd.,  Cranmer  Court,  High 
Street,  Clapham,  W. 4.  ’Phone:  Brixton 

2956. 

Seal  Productions,  181,  Wardour  Street 
London,  W.l.  ’Phone:  Regent  4  329 

Stoil  Picture  Productions,  Ltd..  Tem¬ 
ple  Boad,  Cricklewood,  N.W.2.  Willes- 
den  3293 - Stollpic,  Crickle,  London. 

Thgmison  Productions,  Hoe  Street  ’ 
Studies,  Walthamstow.  ’Phone  :  Wal¬ 
thamstow  364  and  712. 

Torquay  &  Paignton  Photoplays,  Ltd., 
Public  Hall,  Paignton,  S.  Devon. 

Union  Film  Co.,  Strand  Street, 
Liverpool.  ’Phone  :  Central  325 

Walter  West  Productions  :  Prince’s 
Studios,  Kew  Bridge,  Brentford,  Middle¬ 
sex.  ’Phone  :  Chiswick  574. 

Wel«h,  Pearson  &  Co.,  41-45,  Craven 
Park,  Harlesden  N.W.10.  ’Phone  : 
Willesden  2862. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


U 


’Phone 


DEBRIE 


99 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W.  i 


j  Stage:  Cutting  and  Assembling. 

Film:  “  Paddy  the  next  best  thing” 
Director  :  Grahame  Cutts. 

Stage  :  Scheduled. 

Hardy. 

Address:  13,  Gerrard  St.,  W.l. 
Film  :  “  The  Adventures  of  Billy 
Bunter.” 

Type  :  Comedy  Series. 

Stage  :  Scheduled. 

Hepwoi  th  P  ct-ire  Plays. 

i  Address  :  Walton-on-Thames. 
Film:  Not  announced. 

Director  :  Henry  Edwards. 

ideal. 

Address  :  Boreham  Woods,  Elstree, 
Herts. 

Studio  Manager  :  F.  A.  Kendrick. 
Stage  Manager  :  F.  G.  Knott. 
Film  :  “  Mary  Queen  of  Scots.” 
Director  :  Denison  Clift. 

Star  :  Fay  Compton. 

Scenarist  :  Denison  Clift. 

Stage  :  Preparing  Scenario. 

Film  :  “  The  Grass  Orphan.” 
Director  :  Frank  Crane. 

Star  :  Margaret  Bannerman. 

Stage  :  Fifth  week. 


Film  :  “  Harbour  Lights.” 

Director  :  Tom  Terriss. 

International  Artists. 

Address:  57,  Shaftesbury  Av.  W.l. 
Film  :  “  Tell  Your  Children.” 
Director  :  Donald  Crisp. 

Stage  :  Finished. 

Film:  “  Burning  Sand.” 
Director:  Bert  Wynne. 

Star  :  Doris  Eaton. 

Film  :  Not  announced. 

Director  :  Ed.  Jose. 

J.  Stuart  Blackton., 

Address:  Bush  House,  Aldwycb, 
W.C. 

Film  :  “  A  Gypsy  Cavalier.” 

Star  :  Georges  Carpentier. 
Director  :  J.  Stuart  Blackton. 
Stage  :  Cutting  and  Assembling. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington. 

Film  :  “  Sporting  Subjects.” 

Directors  :  H.  B.  Parkinson,  Ed¬ 
win  J.  Collins  and  George  Wynne 
and  Challis  Sanderson, 
Cameraman  :  Theodore  Thum- 
wood. 

Type  :  One  reelers. 

Stage  :  Two  a  week. 

Film:  “A  Gamble  with  Hearts.’ 
Director  :  H.  B.  Parkinson. 

Stars  :  Valia,  Madge  Stuart, 
Milton  Rosmer. 

Stage  :  Casting. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 

Film  :  “  Rogues  of  the  Turf.” 
Director  :  Wilfred  Noy 
Stage  :  Nearing  Completion. 
Quality  F.lms. 

Address  :  B.  P.  Studios,  Clapham 
Park. 

Film  :  One  reelers. 

Director  :  George  A.  Cooper. 
Studio  Manager  :  S.  Folker. 
Cameraman  :  R.  Terreaneau. 
Stage  :  One  a  week. 

{Continued  on  page  7.) 


19 


(Photo  by  Ernest  Mills,  “At  Home  Studio ,”  185,  Piccadilly ,  W.l.) 

Jack  Phillips-Roberts 

“A  Pauper  Millionaire”  (Ideal).  “Pages  of  Life”  ( Adelqui  Millar). 

TWO  YEARS  FILMING;  IN  U.S.A. 

All  corns..— FRANK  ZEITLIN,  3,  GT.  WINDMILL  ST.,  Piccadilly  Circus,  W.l. 

‘PHONE:  REGENT  6696. 


Printed  andjPuHishrd  by  OL)H AMS  PRESS  Ltd..  Loti^  Acre,  W.C.2. — August  2(5,  1922 


Saturday  Sept.  2. 1922 


rol.2  No.65 


Twopenc 


SHIFTINC  SAND 


The  Motion  Picture  Studio  Sept 2. 1922 


PICTUil 


now  near  eng  comp  tec. 

Directed bu  FRED  LC  ROY  GRANVILLE sto/wy  PE 

Distributed  by  Fi/m  Booking  Oft 
22  Soho  oS'ojuare,  London ,  O 


Jfe  .  «  1 

wF  it*,  1 

■  '  :.J 

jgj 

THE  MOTION  PICTURE  STUDIO 


September  2,  1922 


ATHALIE  DAVIS 

Juvenile  Leads. 
Comedy  &  Emotional  Parts. 

DISENGAGED. 

Latest  Trade  Show : 

“  Uncle  Dick’s  Darling.” 
Corns.  :  70,  Goldhurst  Ter¬ 
race,  Hamostead,  N.W.6. 
’Phon"  HamDStead  866. 


NOEL  GRAHMME 

Heavy  Character  &  Comedy. 
Heavy  lead:  “  Bladys  of  the 
Stewponey,”  “Cost  of  a  Kiss,” 
“  Britain’s  Naval  Secret,”  etc. 

12,  Glebe  Place, 

Chelsea,  S.W.3., 
and  Kinema  Club. 

’Phone:  Regent  2131. 
Plwlo  by  Nav  111a 


EVELYN 

BRENT 

Latest  Productions, 

“  Demos,”  “  Sonia,” 

“  Laughter  and  Tears,”  etc 
At  present.  Famous  P.-L. 
Bus.  Corns.,  Sidney  Jay, 
181,  Wardour  Street,  W.l 
Regent  4329. 


GORDON  HOPKIRK 

Leads-Ideal:  ‘Sybil,’  ‘Ernest 
JVIalti  avers  ’  Direct:  ‘hour 
MeninaVan.’  Mas- ers  : ‘Frua 
Diavolo,’  ‘  Bride  of  Lammer- 
moor,'  ‘Faust.’  ‘  Maritana,’ 
‘  Jane  Sho  e  ’  ‘  Stella  ’ : 

P.  &  B  ‘  Settled  in  Full.’ 
B.  &  C  :  ‘The  On een's  Secret.’ 
At tistic  :  ‘The  Skipper’s 
Wooing’  Address: 
bthool  Hou=e,  Tower  Street, 
W.C. 2  or  Ki  ema  Club. 


MARY  ODETTE 

Just  concluded  : 

“The  Fa'thful  Heart”  and 
“  Windows  ” 
(Comedy  Theatre) 
Latest  Releases  : 

“  Wonderful  Year  ’ 

“All  Roads  Lead  tc  Calvary.” 
All  corns.  ;  Sidney  Jay, 

181,  Wardour  Street. 
Regent  1 329. 


F  C  R  E  M  L  I  N  . 

5  Montem  Road,  Forest  Hill,  S  E.23,  or  Kinema  Club 


ERIC 

LEIGHTON 


Leads  only. 


9,  ALBANY 

COURTYARD, 

PICCADILLY, 

Phone  :  Regent  5394. 


SYDNEY  WOOD, 

Juv.  Leads  in  “The  Warrior 
Strain.”  “Her  Benny,”  “  Ever 
Open  Door,”  “  Bars  of  Iron,” 
“The  Flame,”  “The  Will,” 
“  Double  Event.”  “David  and 
Jonathan,”  etc  Address  ; 
The  Laurels  Beverley  Road, 
A  S  F 

’Phone:  Chancery  7080-7081. 


MARJORIE 

VILL1S. 

Corns.  :  4,  Lyall  Street, 
Eaton  Square,  S.YV.l. 
’Phone ’•  Victoria  974. 


DAISY  BURRELL 

Just  finished  plaving  lead  in 
‘ '  Cinderella  ’’  panto. 

Last  Film  :  Star  part  in 
“  Prid-  of  the  Fancy.  ’ 

OPEN  TO  O  FFERS. 
39,  Avonmore  Road, 

West  Kensington. 
’Phone  •  W  stern  675. 


ALEC.  ALEXANDER 

Juvenile  Artiste.  Jnr. 

OFFERS  WANTED. 
All  corns.:  163,  Hackney 
Road,  E.2 

'Phone  :  Dalston  2583. 
or  KINEMA  CLUB, 
Regent  2131. 


H  AY  DEN  COFFIN 

at  the  PALACE  THEATRE,  London. 

As  PROPHET  JOHN  speaks  brief  PROLOGUE  to 

“the  four  Horsemen  of  the  apocalypse.” 

Daily  2.49 — 8.34  -and  Sundays  7.49. 

Free  to  accept  also  other  engagements  to  sing  at 
Cinema  Theatres,  etc. 

BALLADS  from  his  extensive  Repertoire. 
Phones  :  Gerrard  867 1 ,  and  Park  3693 


ROBSON  PAIGE 

S  Recently  in  Sherlock  Holmes  (Six  Napolions  Episode) 
“  Running  Water,”  “  Love  and  the  Whirlwind.” 
“The  Gypsy  Cavalier.” 

“  If  Winter  Comes.” 

AT  LIBERTY.  OFFERS  INVITED. 

Beaver  or  othe  wise. 

’Phone:  Streatham  264. 

Address:  159,  FRANCISCAN  ROAD, 
UPPER  TOOTING,  S.W.2. 


ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 

Character  Parts,  “  Mrs.  Gaity,’’  in  “Christie 
Johnstone  ’’  (Broadwest),  “  Margaret  Howe’’ 
in  “  Beside  the  Bonny  Brier  Bush  ’’  (Lasky). 

55.  Campden  St.,  Kensington,  W.8. 
Tel.  :  Park  3623. 


HUGH  MILLER 

DISENGAGED. 

Corns.  :  Frank  Zeitlin, 

3,  Great  Windmill  Street,  W.l. 

’Phone  :  Regent  6696. 


MILTON  ROSMER 

INVITES  IMMEDIATE  OFFERS. 
Forthcoming  Releases — 

“GENERAL  JOHN  REGAN”  (Stoll) 

“  ROMANCE  OF  WASTDALE  ”  ,, 

“PASSIONATE  FRIENDS” 

“WOMAN  OF  NO  IMPORTANCE”  (Ideal) 
16,  WEYMOUTH  STREET,  W.l. 
’Phone:  l.angliam  2243. 


ARTHUR  PUSEY. 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagoon”  for  I.V.T.A. 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 


THIS  SPACE  TO  LET 
17s.  6d.  for  13  insertions 


MARIE  AULT, 

Character  and  Comedy. 

235,  King's  Road,  Chelsea 


JOHN  EAST 

14,  Iffley  Road.  Hammersmith  W.  £. 
Ham.  1138. 


SYBIL  JAMES. 

Juvenile  and  Character  Parts. 

C/o  MOTION  PICTURE  SIUDIO 


R.  LUCITA  SQUIER, 

Scenarios  and  Originals.  Five  year-  with  Marshal 
Neilon  Productions  “PENROD.” 

Address  :  44,  Great  Russell  Street,  London,  W.C. 2, 


FRED  WRIGHT. 


The  Crazy  Hunchback 
in  the  colour  film 
“The  Glorious  Adventure,” 
Covent  Garden  Theatre. 
THE  COPSE, 

WEST  DRAYTON 
'Phone.-  Yiewsley  82,  or 
Kinema  Club. 


GORDON  BEGG 

Dramatic  —  Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.  11, 

Telephone  :  Batterse  1  21. 


ENA  BEAUMONT. 


LILIAN 

HALL  DAVIS. 

JUVENILE  LEADS. 
Samuelson,  Ideal,  Gra¬ 
ham  Wilcox,  etc.,  etc. 
All  corns.  :  Sidney  Jay, 
181,  Wardour  St.,  W.l. 
Regent  4329 


MARGARET 

HOPE. 

Character  &  J  uvenile  Leads. 

Late  Ideal,  Masters,  Stolls, 
etc.,  etc. 

42,  Blandford  Square, 
Marylebone,  N.W.l. 
Phone:  Padd.  7m, 


GEORGE  KEENE 

Star  Lead.  Disengaged. 
Fer’1w  ing-  “  Black  Sheep,” 
“Through  Stormy  Waters,” 
“Nothing  Else  Matters'” 

“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 

Addr  ess  : 

121b,  Church  St.,  Croydon. 
’Phone  :  Croydon  835. 


Leads  in  “The  Greater  Love,” 
“The  Golden  Web  ’’“All  the 
Winners,”  '  Patricia  Brent, 
Spinster.”  “Our  Girls  and 
Their  Physique,”  ‘  Settled  in 
Full,”  “  Watching  Eyes,”  etc. 
21,  Breakspears  Road. 

Brockley  S.E  4 
’Phone  :  New  Cross  622. 


Famous-Lasky.  Stoll,  Lon¬ 
don.  Sainuelson,  Davidson, 
Ideal,  Broadwst,  etc. 

7  years  Film  Experience. 
8a,  GOLDERS  WAY, 
GOLDKRS  GREEN,  N.W.L 
or  Kinema  Club. 


MURRAY 


Character  &  Emotional  parts 
Just  finished  work  in  “Crea¬ 
tion”  for  Raleigh  King  Films, 
now  playing  lead  for  Masters. 
All  corns:  “LYN  ALE.” 
OAKLEY  RD. 
WHYTELEAFE,  bURREY, 
or  to  the  Kinema  Club 


ARTHUR  CLEAVE, 

15,  Shepherd’s  Hill,  Highgate,  N.6. 

'Phone:  Hornsey  1784. 


THELMA 


9 


September  2,  1922 


THE  MOTION  PICTURE  STUDIO 


CAMERAMEN.  .  .  . 


COSTUMIER.  .  .  . 


WHO’S  WHERE. 


JOHN  J.  COX 

“Four  Feathers,*’  ‘‘Broken  Road,” 

“  Romance  of  Wastdale,”,  etc. 

LATEST : 

■'  Dick  Turpin  ”  for  Stoll  P.cture  Productions,  Ltd., 

44,  BkRROWGATE  ROAD,  CHISWICK.  W.4. 
’Phone — Chiswick  294. 


ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN— 

:  SCIENTIFIC  OUTFIT.  : 

Formerly  Chief  Cameraman  for  Tanhiuser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  ctreet,  W.C.2. 

’Phone — Regent  2131. 


L.  G.  E  G  R  O  T 

EXPERT  CAMERAMAN. 

“  The  Better  ’Ole,”  etc.,  etc., . 

. “  The  Wonderful  S.ory. ’ 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W.2. 

’Phone  :  Streatham  3085. 


DIRECTORS  .  .  .  . 


EDWARD  D.  ROBERTS 


Now  Directing 


“  Hims — Ancient  and  Modern.” 


To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
SUPPLIED - 

From  your  own  Photo,  in  best  glossy  style  : — 
One  position  17/6  per  gross. 

Two  positions  30 /-  ,, 

Apply— 

PICTURES,  LTD.,  88,  Long  Acre,  W.C.2. 


Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W. 

’Phene;  Gerrard  612. 


JOHN  SALTER.  Estd.  1896. 

Cameras — Projector  s— Repairs, 

13,  Featherstone  Buildings,  Holborn,  W.C. 
Pnone;  7408  Chancery. 


SCENARISTS  . 


GERALD  DE  BEAUREPAIRE, 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M’LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W  1. 

’Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  2131. 

PARTNER  WANTED 

Experienced  in  Film  Artist  Agency- 
Work  and  Scenario  Writing. 

Box  287, 

Advertising  &  Publicity  Ltd., 

28,  St.  Swithin’s  Lane,  London,  E.C.4. 


reiNT 

M6 


»eruh 


LEICHNERS 

WORLD 
RENOWNED 


George  K.  Arthur 
says : — • 

“  You  can’t  btaf  it.” 


Obtainable  from  all  Chemists 
and  Theatrical  Costumiers. 


II  any  difficulty  in  obtdning 
same  apply  direct  to 

Sole  British  Agents : 

VANITIES  LTD., 
15a,  Whitcomb  St. 

(Off  Leicester  Sq. ), 

W.C  o 


GREASE 
PAINTS 

&  POWDERS 


Several  directors  nave  explained  to  us 
tne  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suo?esled  that  we  publish  addresses  and 
telephone  numbers  of  such. 

ATWOOD,  ALBAN:  25,  Stanley  Crescent 
W.  11.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S  W.11.  Battersea  21. 

BROOK,  CLIVE  :  “The  Cosy  Corner” 
Houseboat,  opposite  Hampton  Court 
Pa  ace,  East  Molesey 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 
BROOKS,  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 
CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 
CAREW,  JAMES,  15  Burleigh  Mansion, 
Charing  Cross  Road,  W.C. 2.  Gerrard  3904 
CHESNEA,  ELIZABETH  :  54,  Beaumont 
Street,  W.  .  Mayfair  4992. 
D’ESTERRE,  C.  A.,  13,  Fawcott  Street, 
Redcliffe  Gardens,  SAV.IO.  ’Phone: 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
.Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.r  1.  Park  2077. 

ESMOND,  ANNIE ;  43,  Richmond  Road, 
Westbomne  Grove,  W.2.  Park  854. 
FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

FANE,  DOROTHY  :  12A,  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 
GRACE,  ADELAIDE,  103,  Morshead  Man¬ 
sions,  Maida  Vale,  W.9. 

HALLIDAY,  LENA,  14,  Fernwood  Avenue, 
Streatham,  S.W. 

HASTINGS,  WARREN,  5,  Pond  Place, 
Chelsea,  S.W. 3.  Western  7160. 

KAYE,  FREDA,  care  of  The  Kinema  Club 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W. 5.  Western  1936 
LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 

W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977. 
NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 
RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell,  S.E.5. 

RAYNER,  MINNIE  :  Kingwater  Cottage, 
Churc  1  Walk,  Thames  Ditton. 

ROME,  STEWART  :  10,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  all  com?.  Kinema  Club, 
Regent  2131 

SMALL,  KNIGHTON,  59,  Gloucester  Cres^ 
cent,  Regent’s  Park.  Hamp.  889. 
STANBORO UGH,  E.  CYRIL  :  62,  Upper 

Richmond  Road,  East  Putney,  S.W.  15, 
or  Kinema  Club. 

STEERMAN  A.  HARDING:  56  Portland 
Road,  W.i  1.  Park  2529. 

STERROLL,  GERTRUDE  :  14,  Queen's 

Road.  St.  John’s  Wood,  N.W.8. 

TREE,  MADGE:  15,  Lancaster  Court,  New¬ 
man  St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Road. 

Barnes,  S.W.  13.  Putney  1945. 
WALCOTT,  ARTHUR:  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  2131. 
Two  lines,  12s.  6d.  per  thirteen  insertions, 
or  £ 2  5s.  for  a  year,  prepaid. 

Extra  lines ,  is.  per  insertion. 


3 


THE  MOTION  PICTURE  STUDIO 


September  2,  1922 


CAN’T  AFFORD  IT! 


npHAT  is  exactly  the  expression  that  many  artistes  use  when 
-*■  they  are  approached  on  the  question  of  advertising.  Now, 
we  argue  that  no  artiste  can  afford  not  to  advertise.  Let 
us  prove  it  : 

So  long  as  the  film  business  is  run  on  the  lines  it  is  at  present 
(and  there  is  no  reason  to  think  it  will  change  in  this  decade) 
artistes  must  talk  about  themselves,  their  past  work  and  their 
natural  abilities.  They  have  to  bring  themselves  to  the  notice 
of  directors  ;  and — what  is  equally  important — keep  themselves 
under  their  notice. 

If  an  artiste  persistently  calls  on  directors  with  the  “  Any¬ 
thing  doing  for  me  ?  ”  query,  the  directors  will  soon  get  badly 
fed  up  with  the  artiste  and  give  instructions  that  he  is  not  to  be 
allowed  in  to  see  them.  But  the  artiste  must  see  directors. 
Therefore  the  only  way  is  to  see  directors  by  proxy. 

And  that  is  the  function  of  the  advertisements  in  this  journal. 
They  are  the  ever-present  representatives  of  the  artistes.  Direc¬ 
tors  refer  to  these  advertisements  when  they  are  casting.  They 
study  the  features  of  the  artiste  as  shown  in  the  photographs 
They  use  the  advertisements  as  an  address  book,  where  they 
can  find  the  whereabouts  of  artistes  when  they  are  wanted. 


Directors  give  scores  of  engagements  to  artistes  as  a  result  of  their 
advertisements  in  this  journal.  We  know  this  to  be  the  fact 
because  we  have  numerous  letters  from  directors  and  agents 
definitely  stating  this  to  be  the  case.  These  we  will  publish 
from  week  to  week.  Read  what  H.  B.  Parkinson,  who  has  used 


AU,  COMMUNICATIONS  TO  BE  ADDRESSED  TO  THE  FIRM  AND  NOT  TO  INDIVIDUALS. 


Makers  Films,  Ltd. 

STUOJO  4  WONKBi 

1 1.0 eiv  ofCouse, 

om  Dioiul , 

TEDDINGTON. 

10th  August  1922. 

Ernest  S.Alligh&n,  Sbsj., 
the  Motion  Picture  Studio, 

•93  Long  Acre  l.C.S. 


«  &  7.  PlccajMlJf  Mjsrjiio.-.i, 
Shaftesbury  Avenue,  W,  1. 
Telephone ;  8812. 


Telephone  : 
KINGSTON  1617. 
Telefr&me  i 

"  Film*.  TetUlnfton.' 


Dear  sir. 

Acknowledging  yefars  of  the  9th  Inst , ,  I  desire 
to  say  that  I  consistently  raake  use  of  the  MohiOg<  Picture 
Studio  when  casting.  If  I  was  an  artist  I  would  certainly 
keep  a  small  advertisement  running  through  your  paper.  I 
personally  would  like  to  see  more  artists  using  your  space 
under  the  heading  of  "iffl'S  WHER3". 

Faithfully  Yours, 


K&S7XKS  FILMS  LTD. 


(H. 3. Parkinson) 
Managing  Director. 


Thu  letter  does  not  constitute  an  Engagement  or  a  Contract. 


more  artistes  this  year  than  any  other  director,  says  in 
the  adjoining  letter,  and  then  you  will  understand  what  we 
mean  when  we  say  that  you  cannot  afford  not  to  advertise. 


4 


September  2,  1922 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93,  Long  Acre, 
London,  W.C.2, 


Vol.  2  No.  65 


tkefocub 


Telegrams — 
Southernwood, 
Rand,  London. 
Telephone — 
Gerrard  9870. 


Sept.  2,  1922 


Bigger  British  Pictures. 

CEVERAL  recent  successes — “  A  Prince 
^  of  Lovers,”  “  The  Bill  of  Divorce¬ 
ment  ”  and  “  The  Wonderful  Story,” 
come  easily  to  mind — encourage  the  hope 
that  a  definite  advance  in  production  in 
this  country  is  beginning  to  operate. 
Several  producers  are  turning  their  atten¬ 
tion  to  bigger  themes,  and  appear  likely 
to  handle  them  with  larger  vision  than 
has  hitherto  been  the  case.  Nevertheless, 
there  is  still  a  certain  amount  of  “  program 
production  going  on,  and  more  scheduled, 
and  though  such  films  provide  casual 
employment  for  a  number  of  artistes 
who  badly  need  it,  the  effect  in  the  end  of 
their  continuance  will  be  bad.  There  is 
no  room  any  more — either  in  an  artistic 
or  a  commercial  sense  for  the  little 
picture,  for  the  factory  product.  America 
has  recognised  this  fact,  and  so  has  Ger¬ 
many.  Sweden  was,  perhaps,  the  first 
to  grasp  it  and  to  put  into  practice  what 
America  talked  about  for  a  long  time  before 
she  did  anything :  bigger  and  better 
pictures.  Slowly  this  country  is  realising 
the  position,  and  France  and  Italy  are 
moving  along  the  same  lines.  It  is,  per¬ 
haps,  in  such  a  development  that  lies  the 
only  hope  for  the  future  of  the  screen. 

*  *  * 

Why  they  are  Needed. 

has  become  almost  a  platitude  to 
say  that  the  public  is  “  picture-wise  ” 
— and  the  dismissing  of  the  present 
situation  so  glibly  is  both  easy  and 
dangerous.  The  public  is  not  merely 
“  picture-wise.”  It  is  utterly  sick  of  bad 
little  pictures,  and  the  same  old  machine- 
made  stories  about  the  same  stupid  little 
people  and  their  silly  vices  and  artificial 
virtues.  It  is  saturated  to  the  point  of 
regurgitation  with  American  sentiment — 
save  the  mark — sham  philosophy  and 
maudlin  moralising.  It  wants  simple, 
human  everyday  stories  about  ordinary 
people,  on  the  one  hand,  and  it  wants 
boldly  conceived,  artistically  carried  out 
inspirations  in  screen  art,  made  on  a  noble 
plan.  In  fine,  it  wants  (though  consciously 
it  may  not  be  aware  of  it)  pictures  produced 
as  definite  contributions  to  the  art  of  the 
screen,  not  pictures  manufactured  as  the 
product  of  an  “  Entertainment  Industry.” 
*  *  * 

The  Changing  Conditions. 

USINESS  in  the  theatre  end  has  been 
bad  for  some  time.  It  is  the  factor 
which  naturally  produces  a  slump  in 
distributing  and  producing.  Many  causes 


have  been  put  forward.  Economic  con¬ 
ditions,  taxation,  labour  troubles  and  lack 
of  showmanship  have  been  blamed.  All 
these  have  contributed,  especially  the 
latter.  But  the  fundamental  cause — of 
which  the  removal  would  negative  to  a 
great  extent  the  other  causes — has  been 
bad  pictures.  Not  merely  bad  American 
pictures — it  is  fatally  easy  to  blame  the 

If  Little  jobs  are  for  little 
men,  and  — Little  men 
are  for  little  jobs.  Most 
things  are  capable  of 
development.  They  only 
stay  little  if  you  do. 

If  Big  men  with  big  ideas 
and  the  capability  and 
perseverance  to  carry 
them  out  are  wanted  in 
this  Industry. 

If  Where  are  they?  And 
what  are  they  doing  ?  A 
lew  of  them  are  blazing 
the  trail.  Are  you  follow¬ 
ing  it? 

If  Or  are  you  content  to 
be  a  little  man  with  li, tie 
ideas  for  the  little  present 
— And— No  future? 

American  picture — but  bad  British  pic¬ 
tures.  The  theatres  have  been  full  of  pic¬ 
tures  that  were  not  worth  producing, 
much  less  exhibiting,  and  the  public  has 
become  sick  of  them.  Slowly  it  is  getting 
better  films,  but  not  enough  of  them,  and 
slowly — very  slowly — its  sickness  is  being 
cured.  But  the  public  will  need  a  great 
deal  of  convincing,  and  the  one  method  of 
convincing  it  is  to  produce  good  pictures. 
The  eventual  effect  will  be  that  there  will 
be  more  work  for  everyone  in  production. 
It  is  a  long  view,  but  it  is  an  essential 


view.  It  is  a  matter  of  pottering  along 

now  with  little  things  and  quickly  going 

to  extinction,  or  setting  out  for  big  things 

in  the  immediate  future  and  persisting  both 

as  an  Industry  and  as  an  Art.  On  which 

side  are  you  ? 

*  *  * 

Film  Education. 

OR  months  we  have  argued  that  what 
is  at  the  root  of  the  trouble  with  the 
British  film  producing  industry  is  that  the 
business  has  never  been  taken  with  that 
seriousness  that  is  apparent  in  American 
producing  circles.  But  it  is  encouraging 
to  note  that  the  grounds  for  this  accusation 
are  being  removed  and  that  British  pro¬ 
ducing  is  settling  down  to  business  in  a 
businesslike  manner.  In  this  connection 
we  would  point  out  that,  such  is  the 
regard  in  which  the  film  industry  is  held 
in  America,  at  the  Columbia  Uni¬ 
versity  a  Course  of  Higher  Studies  includes 
a  critical  study  of  films.  This  deals  not 
only  with  the  art  of  the  photoplay  but 
with  the  technique  of  the  studio,  including 
sets  and  lighting.  There  is  also  now  in 
America  not  only  a  Theatre  Guild  to 
assist  the  tastes  of  the  more  intelligent 
public  but  a  Film  Guild,  organised  on  the 
principles  of  co-operation  and  recruited 
from  the  chief  Universities.  It  now 
remains  for  some  of  our  British  universities 
to  follow  suit.  Anything  which  tends  to 
a  betterment,  not  only  of  screen  standards, 
but  to  a  greater  knowledge  and  under¬ 
standing  of  the  possibilities  of  the  motion 
picture  play  as  an  art  is  worth  encourage¬ 
ment.  Too  long  has  the  screen  been  not 
merely  the  Cinderella  of  the  Arts  but 
almost  an  Ishmael.  That,  perhaps,  in 
its  earliest  days  was  inevitable.  Now  it  is 
not.  Better  brains,  finer  intellects,  keener 
appreciation  of  things  other  than  sen¬ 
sation  and  ostentation  are  coming  in.  And 

they  are  the  only  real  hope  for  the  future. 

*  *  * 

Your  Share. 

is  for  you  to  help.  The  way  may 
seem  hard  —  now.  It  will  seem 
harder  later  if  you  accept  just  what  comes 
and  do  not  think  and  act  big.  It  is,  we 
admit,  an  easy  doctrine  to  preach,  and  a 
very  difficult  doctrine  to  follow.  Especi¬ 
ally  when  any  sort  of  work  in  any  sort  of 
picture  appears  to  be  the  only  means  of 
existing.  But  it  needs  courage,  both  to 
propound  the  doctrine  of  bigness  and  to 
follow  it.  Can  you  follow?  If  not,  what 
is  the  future,  not  only  for  the  Producing 
Industry  but  for  everyone  who  is  in  it — 
'  which  includes  YOU? 


5 


THE  MOTION  PICTURE  STUDIO 


YOUR 

LETTERS  TO 

“  THAT  AMERICAN  INVASION.” 

Mr.  Crew  gives  in  extensive  detail  the 
“peaceful  penetration”  by  Americans  of  the 
British  film  Industry,  of  which  I  wrote 
months  ago.  It  is  as  carefully  planned  and 
minutely  organised  as  was  the  German 
peaceful  penetration  of  all  our  industries  in 
pre-war  days.  Our  good  nature  and  easy¬ 
going  tolerance  is  being  exploited. 

But  1  would  specially  point  out  that  the 
American  director’s  methods  are  only  ren¬ 
dered  possible  by  the  connivance  and  even 
obvious  assistance  of  some  British  agents. 
Now  any  man  of  ordinary  intelligence  knows 
that  British  agents  do  '  not  arrange  their 
“stunts”  for  the  sake  of  their  health  or  for 
the  beaux  yeux  of  American  stars  or  directors. 
They  exploit  the  British  screen  artiste  for 
the  benefit  of  American  directors  and  profit 
thereby. 

American  directors  are  brought  over  to 
work  for  British  film  concerns.  It  is  difficult 
to  know  exactly  the  position  occupied  in 
America  by  some  of  these  directors.  Are 
they  the  duds  who,  failing  there,  think  they 
will  exploit  the  poor,  unsophisticated 
British?  __ 

From  all  I  hear  the  methods  of  some  of 
these  directors  would  not  be  tolerated  in 
their  own  country. 

Why,  again,  should  a  beautiful  British 
building  like  the  Palace  Theatre  be  vul¬ 
garised  by  crude,  common  New  York  posters 
as  it  is  to-day?  The  only  hope  is  that 
English  folk  will  think  that  the  film  there 
advertised  is  equally  vulgar  and  inartistic, 
and  stay  away.  Americans  have  yet  to  realise 
that  British  folk  still  have  a  reverence  for 
the  Bible. 

American  directors  working  for  English 
firms  in  England  have  always  one  eye  on 
the  American  market,  and  they  utterly  fail 


HORNER 

THE  EDITOR 

to  absorb  the  English  atmosphere,  so  the 
result  is  films  produced  in  England  from  the 
American  viewpoint  and  called  English 
films. 

Who  pays  for  the  lavish  lunches  and  dis¬ 
creet  dinners  of  welcome  to  American  stars 
brought  over  by  English  agents?  Ultimately 
the  half-starved  British  screen  actors,  who 
are  thus  done  out  of  a  job  by  the  very  men 
they  employ  to  safeguard  their  interests.  Yet 
we  are  told  they  can  “hold  the  fort"!  This 
is  how  they  do  it.- — Ess  Jee. 

“A  REGISTER  FOR  ARTISTES.” 

In  answer  to  Ess  Jee  in  the  M.P.S.,  of 
August  5,  about  the  suggested  register  for 
artistes  at  the  Kinema  Club — the  article 
was  not  by  Cliristabel  Lowndes  Yates,  the 
lady  who  collaborates  with  me,  neither  does 
she  approve  of  it,  and  I  may  also  add 
that  Miss  Lowndes  Yates  has  never  been  an 
actress  but  she  has  very  great  sympathy  for 
artistes  both  in  the  overcrowded  stage  and 
film  professions. 

1,  Muriel  Alleyne,  have  been  an  actress  for 
over  25  years,  and  I  am  able  to  speak  from 
experience  as  to  agents  and  their  methods, 
and  my  suggestion  for  the  members  of  the 
Kinema  Club  to  register  at  the  Club  and 
have  photographs  in  the  different  characters 
they  have  played  for  the  casting  director  to 
see,  was  to  keep  outside  screen-struck  people 
from  pushing  out  the  really  clever  artistes 
we  have  already  tried  and  proved. 

Every  day  you  see  agents  advertising  for 
new  people,  and  it  does  hurt  those  who  have 
taken  up  screen  acting  for  a  career — that 
is  why  I  suggested  the  register  at  the  club, 
although  I  admit  there  are  many  excellent 
film  artistes  who  are  still  not  members. 

Those  artistes  registered  would  deal  with 
firm’s  through  their  agents  if  they  wished. 


September  2,  1922 


I  don’t  think  anyone  wants  an  agency  at 
the  club,  but  the  real  film  artiste  does 
want  some  protection,  more  work,  better 
treatment,  and  prevention  of  the  un¬ 
necessary  introduction  of  the  screen-struck 
swelling  the  throng  every  five  minutes. 

Say  a  firm  wants  a  man  for  Henry  VIII. 
or  a  woman  for  Queen  Elizabeth,  why 
should  he  not  look  through  the  club  register 
and  pick  his  type  of  man  or  woman  for 
either  part.  If  the  man  or  woman  does 
not  deal  through  an  agent,  their  home 
address  would  be  there,  and  they  would 
receive  a  card  asking  them  to  call  on  the 
director.  If  they  deal  through  an  agent— 
the  agent  would  receive  a  card  asking  for 
an  interview  to  be  arranged  with  the 
director  and  the  artiste  named,  at  the  agent’s 
office. 

This  would  put  an  end  to  that  cruel 
system  of  the  crowded  staircase,  the  packed 
room  (worked  for  show)  and  .the  heart¬ 
breaking  disappointment  of  the  rejected 
(who  have  often  tramped  to  the  office  full 
of  hope  and  tramped  back  disappointed) 
possibly  never  having  seen  the  agent  or  the 
director  to  speak  to,  and  been  sent  away 
by  an  unsympathetic  typist  or  a  cheeky 
office  boy. 

Something  must  be  done  to  help  the 
screen  artiste  and  the  man  or  woman  who 
suggests  a  way  out  would,  I  feel  sure, 
receive  the  gratitude  of  all. — Muriel 
Alleyne. 


COME  RIGHT  IN  ! 

It  you  are  passing,  or  if  you  want  to  ask 
a  question,  or  if  you  have  some  news,  or 
if  you  want  to  have  a  chat  over  the  busi¬ 
ness — come  right  in !  We  are  anxious  to 
maintain  close  personal  touch  with  all  our 
readers.  We  are  putting  you  first  all  the 
time — you  and  your  interests  are  our  chief 
concern,  and  we  want  to  emphasise  that 
you  have  !a  perfect  right  to  come  in  and 
regard  our  time  as  being  at  your  disposal. 
Come  light  in  ! 


DOUGLAS  WEBSTER, 


Juvenile  Character  Artist. 


Playing  LEROY  LINDSAY  in  Fred  L. 
Granville’s  great  African  Production 

“SHIFTING  SANDS.” 

All  coins,  to  — 

37,  LOVELACE  GREEN, 

WELL  HALL,  S.E.9. 


SUBSCRIPTION 
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To  The  Manager, 

“MOTION  PICTURE  STUDIO  ” 

93,  Long  Acre,  London  W.C.2. 

Exhibitors  who  are  subscribers  to  the  Fine. 
can  get  a  comb  hied  reduced  subscription. 

Please  send  me  a  copy  of  the  “Motion 


Picture  Studio’’  weekly  or . months 

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6 


September  2,  1922 


fHE  MOTION  PICTURE  STUDIO 


jC-cqMb 

Intimate  Studio  Qossip 


Prom  Blair  Athol  comes  a  note 
signed  by  Martin  Thornton,  who  is 
directing  the  exteriors'  for  “  The 
Romany  ”  for  Welsh-Pearson  up 

there.  The  weather,  he  mentions,  has 
been  variable,  but  the  artistes  are 
thoroughly  enjoying  camp  life  and  the 
company  is  having  plenty  of  work  and 
fresh  air.  Letters  to  the  artistes 

should  be  sent  C/o.  Post:  Office,' 
Blair  Athol. 

An  d,  talking  of  this  company,  there 
is  more  to  be  said  about  the  letter 
to  artistes  which  was  commented  upon 
in  the  M.P.S.  of  August  12.  Thomas 
Welsh,  of  Welsh-Pearson,  tells;  me  that 
George  Pearson  was  not  to  be  blamed 
in  any  way,  and  that  it  was  he  (Welsh) 
who;  was  responsible  for  the  letter 
going  out.  It  was  read  toi  him  over 
the  telephone  at  a  moment  when  he 
was  even  busier  than  usual,  and  he 
told!  Bramlin’s  it  was  O.K.  Mr. 
Welsh  admits  that  if  he  had  seen  the 
letter  and  thought  it  over  he  would 
have  worded  it  differently,  but  that 
there  was  not  the  least  intention  to  put 
any  slight  upon  the  artistes  either  on 
his  part  or  on  that  of  John  Payne. 

Still,  the  letter  was  injudiciously 
worded,  though  no  doubt  its  inten¬ 
tions  were  good,  for  the  last  organisa¬ 
tion  to  whom  I  would  attribute  any 
desire  to'  treat  artistes  other  than  well 
would  be  Welsh-Pearson,  whose 
reputation  in  every  sense  is  enviable. 
And  so  far  as  the  camping  is  con¬ 
cerned,  it  seems  that  the  locations  are 
far  removed  from  any  kind  of  habita¬ 
tion  and  that  there  was  no  alternative. 
Everything,  judging  by  the  letters  I 
have  received,  has  been  done  for  the 
comfort  of  the  artistes  and  they  appear 
to'  be  enjoying  their  novel  experience 
very  thoroughly,  in  spite  of  the  patchy 
weather.  No  doubt  some  of  them  will 
have  minor  grievances,  but  there  is 
always  a  section  of  disgruntled 
grousers  in  every  gathering.  Why, 
even  in  the  “  happy  ”  days  of  1914-18 
there  were  some  of  us  who  .  .  .  but 
that’s  another  story,  as  the  agent  said 
when  the  super  told  him  he  had  played 
parts  for  Griffith. 

After  having  spent  a  number  of 
years  in  America,  where  he 
appeared  in  various  American  pro¬ 
ductions,  Jack  Phillips-Roberts  has 
returned  to'  England  and  has  already 
played  in  two  of  the  latest  British 


successes,  namely,  “  A  Pauper 
Millionaire  ”  for1  Ideal  and  “  Pages 
of  Life”  for  Adelqui  Millar.  In 
both  these  productions  he  has  been 
seen  as  juvenile  lead  and  is  said  to  be 
particularly  good  in  such  roles.  In 
America  he  was  rapidly  coming  to'  the 
fore  as  a  juvenile,  but  on  the  entry  ol 
the  U.S.A.  into  the  war  he  joined  up 
in  the  Flying  Corps  as  instructor  and 
consequently  his  film  career  came  to 
an  end  for  the  time  being.  All  com¬ 
munications  regarding  him  should  be 
addressed  to  Zeitlin’s  Agency,  Wind¬ 
mill  Street,  W.i,  his;  sole  repre¬ 
sentative. 

The  list  of  authorities  who  have 
helped  with  the  production  of  the 
“  Westminster  ”  super  production, 
“  Rob  Roy,”  is  an  imposing  affair. 
The  Dukes  of  Atholl  and  Argyle  have 
given  useful  information,  and  the 
latter,  with  the  Duke  of  Montrose, 
gave  permission  for  “exteriors”  to 
be  taken  on  their  estates.  Details  of 
costuming,  furnishings,  etc.,  have  been 
supervised  throughout  by  Charles 
Whitelaw1,  one  of  the  leading  Scottish 
authorities  on  armoury  and.  Highland 
costumes. 

Other  authorities  who  have  given 
valuable  help  and  information 
include  Mr.  Curie  (Director  of  the 
National  Scottish  Museum,  Edin¬ 
burgh),  Mr.  Callender  (Director  of 
Antiquities;  Museum,  Edinburgh),  Mr. 
Caw  (Director  of  National  Portrait 
Gallery,  Edinburgh),  and  Francis  Ells 
(of  the  Victoria  and  Albert  Museum, 
London),  the  greatest  living  authority 
on  the  history  of  ecclesiastical  cere¬ 
monies.  The  picture  is  to  be  Trade 
shown  under  the  auspices  of  the 
British  National  Film  League  at  the 
Marble  Arch  Pavilion  on  Friday, 
September  29,  at  11.15  a.m.  The 
alteration  in  day  and  venue  is  due  to 
the  picture  being  put  in  as  an  extra 
subject  on  the  British  National  pro¬ 
gram.  There  is  another  League 
fixture  on  Thursday,  so  that  for  the 
first  time  we  shall  have  two  National 
Program  pictures  shown  in  the  same 
week. 

On  Monday  H.  B.  Parkinson  com¬ 
mences  work  on  a  five-reel  subject 
for  Master  Films,  which  will  feature 
Milton  Ro'Smer,  Madge  Stuart  and 
Valia.  This  is  the  first  five-reeler  that 
has  been  made  at  the  studios  for  some 
months,  all  the  energies  of  the  staff 
being  directed  towards  the  making  of 
short  features,  the  firs*'  of  which  was 


“Tense  Moments  with  Great  Authors  ” 
series. 

Have  just  received  a  note  from  Wil¬ 
fred  Noy,  who  has  returned  from 
Belgium,  where  he  has  been  filming 
for  Progress  scenes  for  “  'Rogues  of 
the  Turf,”  his  latest  picture.  Noy  is 
having  a  very  strenuous  time,  from 
what  I  can  bear,  having  worked  night 
after  night  on  lighting  effects  and  get¬ 
ting  to'  bed  about  dawn  as  a  result. 
It  has  been  quite  the;  thing  with  him 
of  late  to  bei  up  at  5  a.m.  to  keep 
abreast  with  the  work  on  hand.  He 
speaks  highly  of  the  co-operation  and 
support  of  Fred  Groves,  Bobby  An¬ 
drews,  Clarence  Blakistom,  James 
Lindsay,  Olive  Sloane,  and,  last  but 
not  least,  the:  untiring  efforts  of  his 
little;  leading  lady,  Mavis  Clare. 

Charles  W.  Hopper  has;  just  been  ap¬ 
pointed  secretary  of  the  British 
National  Film  League:,  and  in  this 
capacity  will  attend  to  the  publicity  of 
the  League.  Mr.  Hopper  is  well- 
known  as  a  journalist  and  writer, 
having  recently  had  one  of  his  books, 
“Where’s  Joseph?  ”  published. 

The  five-reel  version  of  the  famous 
Fred  Emney  vaudeville  classic  has 
been  completed,  and  among  those 
delighted  with  the  result  are  John  le 
Breton,  the  author'  of  the  original 
sketch,  and  Mrs.  Fred  Emney,  who 
plays  a  small  part  in  the  picture. 
George  Dewhurst,  who  has  expanded 
the  garret  episode  into  a  full  story, 
pitched  in  a  strong  comedy  vein 
throughout,  and  is  responsible  for  both 
production  and  scenario,  is  very 
pleased  with  the  finished  picture,  with 
Mary  Brough  as  “  Mrs.  May  ’  and 
Pollie  Emery  as  the  landlady,  sup¬ 
ported  by  Cecil  Morton  York,  Billie 
Baron  and  John  McAndrews.  Apart 
from  the  interest  attaching  to  the  sub¬ 
ject  from  its  long  career  on  the  music 
hall  stage,  it  should  merit  the  special 
attention  of  those  -who  consider  that 
really  amusing  British  pictures  are  too 
few  and  far  between.  Mr.  Dewhurst’s 
Work  has  been  more  than  promising  in 
the  several  fields  of  acting,  production 
and  scenario  writing,  and  this  is  the 
first  picture  of  a  purely  comedy 
^  character  he  has  produced. 

f \aJLJ. 


7 


THE  MOTION  PICTURE  STUDIO 


September  2,  1922 


AND 


Following  the  example  of  the  “  Star,”  we  have 
arranged  for  Ernest  G.  Allighan  and  David 
Robertson  ( the  black  and  white  artist)  to  visit  film 
centres  each  week  for  the  pur  pose  of  a  humorously 
informative  article  with  caricature  illusirati  ns. 

As  these  visitors  are  physically  “  the  long  and  short  of  it,”  the  appropriateness  of  the 
parody  of  the  “  Star  s”  /  amous  headline  will  readilv  be  seen.  It  should  be  explained 
that  all  references  in  this  series  are  perfectly  good-humoured  and  no  offence  is  meant 

or  should  be  taken. 

WITH  GRANVILLE  AT 
CATFORDUSTANIA 


rgTHERE  is  a  sense  in  which  it  is  abso- 
lutely  wrong  for  me  to  be  writing  this 
at  all.  Technically  speaking,  I’m  on 
holiday.  Here  I  sit  on  Boscombe  Pier  with 
the  sad  salt  waves  telling  the  tale,  and 
the  white  and  purple  cliffs  of  old  England 
emphasising  the  never-before-stated  fact  that 
the  film  Industry  is  in  its  infancy. 

In  theory  I’m  on  holiday.  Actually  I’m 
wearing  out  the  14-ct.  gold  platinum-tipped 
nib  of  an  Onoto  pen,  recording  impressions 
of  the  visit  we  paid  to  the  old  Broadwest 
Studios  at  Catford  last  week  to  see  Fred 
Le  Roy  Granville  use  the  magic  carpet  to 
translate  the  sordid  suburb  of  South  London 
into  the  sun-scorched  sands  of  Sahara. 

So  far  as  I  can  remember,  we  reached 
Catford  safe  and  sound.  At  tire  same  time 
I’m  not  going  to  swear  to  it.  For  two 
reasons.  One,  I’m  on  Boscombe  Pier.  Two, 
we  were  driven  down  in  a  Ford. 

When  we  reached  the  studio  we  found  it 
peopled  with  the  spirits  of  the  past.  The 
ghosts  of  Cameron  Carr,  Greg  Scott,  Norman 
MacDonald,  Vi  Hopson,  Walter  West, 
Arthur  Walcott  (and  that  ilk)  peeped  out  at 
me  from  every  nook  and  corner.  On  one 
of  the  walls  I  found  a  cryptic  statement  in 
Walcotts  caligraphy  to  this  effect,  “Put 
your  shirt  if  you  have  one,  on  Sunset 
Dawn.  And  in  a  corner  of  an  unused 
room  I  found  a  half-empty  Whitbread’s. 

Oh,  I  tell  you  that  Catford  is  a  studio 
with  a  rich-flavoured  past.  Would  that 
the  days  of  tlnrty-to-one  winners  and  pre¬ 
war  beer  returned. 

Well,  as  I  say,  we  gathered 
up  our  dislocated  spinal 
columns,  clambered  out  of 
the  Ford,  and  stepped 
into  Arabia.  Strange- 


looking  folks  with  mangy  beards  and 
green  turbans  walked  about  in  flowing 
robes  and  noisy  silence.  On  our  right  were 
miles  and  miles  of  yellow-liot  sand — straight 
from  the  North  Coast  of  Southend,  which 
you  geographians  will  ken  is  just  off  the 
shores  of  Whitechapel. 

Tropical  plants  and  tall  waving  palms. 

An  Arab’s  desert  tent. 

A  British  officer’s  official  ditto. 

A  chorus  of  cuss  words. 

An  oasis. 


Crosses 

denote  Cohere  A 
/he  bodies 
Co  ere 
found. 


the  camel  and  the  hump.  I  Used  to.  But 
never  again.  If  you  like  to  visit  Catford 
you  can  see  a  camel’s  saddle.  And  when 
you’ve  seen  a  camel’s  saddle  you’ll  cease 
to  wonder  why  the  camel  has  the  hump. 

Then  there  is  the  sheik’s  tent.  Don’t  run 
away  with  the  idea  that  a  sheik’s  tent  is 
a  ramshackle,  toppled-down,  decrepit  bit 
of  dirty  canvas  perched  on  a  sapless  palm 
tree. 

It’s  not. 

It  is  the  last  word  but  one  in  descitian 
comfort.  In  it’s  little  harmless  way  it  is 
the  Savoy  of  the  Sahara,  or  the  Metropole 
of  Morocco. 

The  canvas  of  which  it  is  made  is  of 
purest  crepe-de-chine  rice  paper  threaded 
with  the  scalps  of  a  thousand  polar  bears. 
It  is  hung  on  a  variegated  barber’s  pole; 
is  redec.  throughout,  bath  h.  and  c. ;  self 
contch,  four  bed.,  two  recep.  rms.,  gar.; 
10  mins,  stn.,  g.r.  Is.  3d.;  w.  possession  at 
Middlemass. 

This  Oriental  business,  Tondy, 
and  millions  of  steps  are 
my  three  chief  recollec¬ 
tions  of  that  visit 
to  Catford.  Tondy, 


(fo rmc 

STUDIO^ 


Pith  helmets. 

A  packet  of  Abdullah  cigs. 

A  camel’s  saddle. 

Four  Oriental  cushions. 

A  tune  from  “Chu  Chin  Chow.” 

An  old  rifle. 

These,  together  with  Granville  and  a 
watery  sun,  made  a  fine  desert  set.  The 
Artist-Fellow  immediately  burst  into  song. 

“  The  Sheik  ”  was  his  contribution  to  the 
scene.  A  well-aimed  pomegranate  was  mine 
to  him.  You  see,  his  idea  of  “The  Sheik  ” 
was  identical  with  mine  save  for  the  absence 
of  the  letter  “r.  ”  Like  oysters. 

It  occurs  to  me  that  as  some  of  you  may 
never  have  been  introduced  to  Oscar  Asche 
you  may  not  be  acquainted  with  the 
Oriental  facts  of  life.  Let  me  change  the 
Occidental  into  the  Accidental. 

In  your  young  and  foolish  days  you  may 
have  cracked  the  heaver-chestnut  about 


I  ought  to  explain, 
is  the  Wizard  of  the 
Brush.  He’s  got  the  Artist- 
Fellow  beat  to  a  fried  frazzle. 
And  the  A.-F.  knows  it — hence  his  carica¬ 
ture. 

“Tondy,”  remarks  Granville,  “I  want  to 
look  through  this  tent  door  and  see,  miles 
away  across  the  sand,  Venice,  in  all  her 
glory,  with  Geneva  on  the  right  and  New¬ 
castle  in  the  South.  What  can  vou  do  about 
it?  ” 

In  three  minutes  Tondy  has  painted  a 
wonderful  panoramic  scene  that  could  be 
Venice,  Geneva,  Newcastle  or  Long  Acre. 
This  is  placed  just  outside  the  tent  door. 
The  camera  takes  a  long  shot  through  the 
door  and — hey  presto  !  hip,  hip,  hooray  !  and 
“The  Conquering  Hero”  all  rolled  into  one 
— there  you  are  then. 

But  really,  I  must  protest  against  those 
stairs.  There  are  exactly  497,388,263  of  them. 
I  know  that  for  a  fact :  I  started  to  count 
them.  I  got  up  to  37  and  my  heart  nearly 


Camera 


8 


September  2,  1922 


THE  MOTION  PICTURE  STUDIO 


Tondy  .  with  Brush 


conked  out;  just  managed  to  drop  into 
bottom  gear  in  time. 

These  steps  run  from  terra-firma  to  Heaven- 
knows-where.  Granville  once  managed  to 
reach  the  top  and  he  swears  they  end  at 
the  studio  door.  As  he’s  a  durned  sight 
bigger  “  ’n  this  lil  chile  ”  I’m  believing 
him. 

The  Artist-Fellow  challenged  me  to  tackle 
the  journey.  And  I  wasn’t  born  in  Water¬ 
ford  for  nothing.  So  we  started.  He  gave 
me  20  in  100  up.  At  41  he  passed  me.  He's 
never  been  heard  of  since.  A  search  party 
comprised  of  Tondy  and  Peggy  Hyland  went 
out  after  him.  They  took  one  of  Granville’s 


Gran  .  with  Birds 


birds  as  a  precaution — if  the  bird  died  in 
its  cage  they  knew  the  air  was  foul  amt 
they  were  nearing  the  Artist-Fellow. 

At  the  84  mark  Peggy  collapsed,  and  as 
Tondy  is  hardly  the  right  man  to  save  the 
Artist-Fellow,  we  wirelessed  for  him  to 
return.  He’s  expected  next  week. 

Talking  about  this  little  event  reminds  me 
that  Granville  has  an  aviary  and  a  vice. 
The  aviary  is  full  of  birds;  the  vice  is  an 
absence  of  cork-screw.  We  sat  at  lunch 
and  waited  anxiously  for  nearly  two  seconds 
while  he  searched  for  an  implement  of 
withdrawal.  The  situation  was  saved  by 
Lewis  Willoughby,  who  lent  us  one  of  his. 


And  talking  of  corkscrews  reminds  me  to 
stop  writing  as  it  is  now  11.30  ack  cmma. 
My  fountain  pen  is  now  dry. 

(So  am  1.) 

*  *  * 

Those  stars  have  no  connection  with  the 
previous  paragraph :  they  represent  the 
Esperanto  that  1  have  just  used  on  dis¬ 
covering  that  (a)  it  is  pouring  with  rain; 
(b)  I’m  cut  off  by  the  tide;  (c)  It  is  Sunday 
when  they  open  an  hour  later ! 

Granville  told  me  that  lie’s  brought  a 
memento  back  from  the  desert  for  me.  I’ve 
got  it — the  bally  hump  ....  Badly. 


The  Local  Sport:  “Hunting  the  Corkscrew.'’ 

CAMPING  OUT 


Referring  to  the  comment  on  th^  camping 
of  artistes,  in  the  “M.P.S.”  of  August  12, 
Victor  McLaglen  writes  :  — 

“There  is  sucli  a  thing  as  tact  misplaced. 
A  case  in  point  occurs  in  the  editorial  of 
August  12,  in  which  the  “M.P.S.”  takes  it 
on  itself  to  apologise  to  the  whole  profes¬ 
sion  for  a  certain  letter  sent  through  Bram- 
lin’s  to  the  actors  in  the  new  Welsh-Pearson 
film. 

’“The  camping  in  Scotland  has  not  been  a 
matter  of  economy,  but  of  securing  shots 
which  are  quite  unique  and  indispensable 
to  the  new  film.  We  are  camping  in  the 
Duke  of  Atholl’s  private  grounds,  every¬ 
thing  is  running  like  clockwork,  and  the 
Studio  has  pictured  more  discomfort  than 
,the  artistes  have  experienced  \in  all  the 
three  weeks’  work.  Our  food  is  better  than 
the  meals  served  |at  the  most  expensive 
local  hotel.  We  are  grateful  for  the 
Studio’s  sympathy,  but  in  this  case  it  is 
entirely  misplaced.” 

And  Hugh  E.  Wright  writes: — “I  have 
heard  it  rumoured  that  a  certain  film  com¬ 
pany  are  filming  Scotland’s  beauty  spots, 
and  from  motives  of  economy  are  camping 
out.  This  is  untrue.  Certain  ladies  and 
gentlemen  are  camping  out  in  Scotland, 
and  if  one  of  their  number,  an  enthusiastic 
photographer,  chooses  to  spend  the  occa¬ 
sional  moments  of  sunshine  in  taking  photo¬ 
graphs  of  the  scenery  with  various  members 
of  the  company  posed  more  or  less  attrac¬ 
tively  in  the  foreground,  I  fail  to  see  why 
certain  critics  should  be  roused  to  wrath. 


Opinions 

I  admit  the  weather  is  not  ideal  fox- 
camping  out,  but  if  by  any  chance  that  is 
under  the  control  of  our  critics,  our  quarrel 
is  with  them,  not  with  the  gentlemen  who 
are  paying  our  expenses  and  providing  us 
with  pocket  money.  There  are  grousers  in 
every  camp,  and  when  the  ninety-seventh 
drop  of  water  has  fallen  directly  on  your 
nose  from  the  one  leak  in  the  tent,  some 
people  are  inclined  to  grouse.  Others  shift 
the  camp  bed  a  little  and  sleep  in  peace.- 

“But  you  should  hear  the  camp  when  the 
sun  does  shine.  A  pcean  of  joy  goes  forth 
from  forty  throats  to  the  tune  of  ‘There 
you  are !  There  you  are !  There  you  are 
again !  ’  Percy  Strong  dashes  madly  for  his 
camera,  the  remainder  of  the  camp  leap 
for  the  Leiclxner  and  array  themselves  in 
suitable  costumes  for  their  romantic  back¬ 
ground,  and  then  the  sun  goes  in  again. 

“And  that  gibe  about  ‘motives  of 
economy.’  You  should  see  the  camp-cook 
struggling  under  the  weight  of  the  Scotch 
aitch  bone,  reposing  on  a  sward  of  York¬ 
shire  pudding,  while  his  assistant  pushes  a 
trolly  of  Jersey  potatoes  and  French  beans 
into  the  clamorous  mess  tent.  We  serve 
our  soup  not  by  the  plate  or  bowl  but  by 
the  wash  hand  basin,  our  bacon  not  by 
the  rasher  but  by  the  gammon.  To  every 
letter  home  there  is  a  postscript  ‘  Please 
send  more  buttons.’  Our  waist-coats  part 
to  meet  no  more,  yet  parting  is  such  sweet 
sorrow.  ‘  Motives  of  economy !  ’  Some  of 
our  members  went  to  the  hotel  five  miles 
away  last  night,  had  dinner  or  an  appetiser, 
returned  to  camp  and  grumbled  because  the 
hor  d’oeuvres  of  the  camp  dinner  had  run 
out.  ” 


The  Artistes’ 


9 


THE  MOTION  PICTURE  STUDIO 


September  2,  1922 


are  and - 

— -  what  they  are  doing 


Where  they 


Aletia  Travers  is  playing  for  Masters  in 
“  Clock  v.  Clock.” 

Edwin  J.  Collins  is  directing  “Clock  v. 
Clock  ”  for  Master  Films. 

Jock  Cameron  is  to  play  for  Walter  Forde 
in  the  next  Forde  comedy. 

Dick  Butler  has  been  working  in  “Clock 
v.  Clock  ”  for  Master  Films. 

James  Knight  has  been  playing  for 
Masters  in  “Clock  v.  Clock.” 

Kate  Gurney  is  playing  for  Stoll  in  the 
new  production,  “Petticoat  Loose.” 

Kathleen  Vaughan  has  been  appearing  for 
Masters  in  “  The  Making  of  Gordon.  ” 

Challis  Sanderson  is  directing  “The 
Making  of  Gordon  ”  for  Master  Films. 

Sydney  Folker  is  playiirg  in  “  The  Cun- 
ninghames  Economise  ”  for  Quality  Films. 

Joan  McLean  is  playing  in  “The  Cun- 
ninghames  Economise  ”  for  Quality  Films. 

Cecil  du  Gue  is  playing  for  Capt.  Calvert 
in  the  new  Gaumont  film,  “The  Scientist.” 

Douglas  Webster  has  been  playing  for 
Granville  Productions  in  “Shifting  Sand.” 

George  Wynn  is  directing  a  motor  racing 
story  for  Masters’  new  short  sporting  fea¬ 
tures. 

Fatty  Phillips  is  to  play  in  “Hims — An¬ 
cient  and  Modern,  ”  for  Evan-Phillips’ 
Productions. 


Henry  Victor  is  back  from  Iceland,  where 
he  has  been  playing  for  Stoll  in  “The 
Prodigal  Son.” 

(i  Joan  Morgan,  who  has  been  playing  in 
“A  to  Z,  ”  is  leaving  the  theatre  to  recom¬ 
mence  screen  work. 

Valia,  who  has  been  playing  in  “The 
Price  of  Silence”  for  Granville  Productions, 
is  now  to  play  in  “A  Gamble  with  Hearts  ” 
for  Masters. 

Olaf  Hytten,  .  having  finished  work  for 
Quality  Films,  is  now  engaged  to  play  his 
original  stage  part  in  British  Supers’  screen 
version  of  “The  Right  to  Strike.” 


LIVE  AND 

Tj^JOUR  screen-artiste  readers  will  be  glad 
and  relieved  to  know  that  the  Carl 
Rosa  Opera  Company  started  its  ten  months’ 
tour  last  Monday.  So  for  ten  months 
the  agents’  offices  and  staircases  will  not  be 
still  more  overcrowded  by  its  members,  as 
they  have  been  during  the  past  two  months 
while  they  were  “  resting.” 

It  was  perfectly  natural  that  being  old 
pals  of  the  agents  they  should  apply  to  them 
for  screen  work.  But  I  would'  lask  the 
agents  whether  it  is  fair  to  the  struggling 
and  even  starving  screen  artistes  that  they 
should  give  them  a  preference  for  the  very 
limited  amount  of  film  work  going  ?  These 
opera  singers  had  just  finished  a  ten 
months’  contract,  and  had  in  their  pockets 
a  similar  one  for  the  next  ten  months’ 
regular  work  and  pay. 

The  screen-actors,  who  toil  wearily  day 

10 


Grahame  Wilcox  is  casting  for  his  “Paddy 
the  Next  Best  Thing.” 

Lionelle  Howard  is  appearing  as  Micky  in 
“Petticoat  Loose  ”  for  Stoll. 

Jack  Trevor  is  playing  for  Stoll  as  Max 
Lorrimer  in  “Petticoat  Loose.” 

Frank  Goldsmith  is  playing  for  Stoll  as 
Lord  Farlingliam  in  “  Petticoat  Loose.  ” 

Warwick  Ward  is  appearing  as  Clive  Rae- 
more  in  Stoll’s  new  film,  “Petticoat  Loose.” 

Donald  Searle  has  been  playing  for 

Quality  Films  in  one  of  the  new  short  fea¬ 
tures. 

Gibson  Gowland  was  engaged  through 
Sidney  Jay  to  play  for  Ideal  in  “The  Har¬ 
bour  Lights.” 

George  Bishop  has  been  playing  for 

Master  Films  as  Owen  Strong  in  “The 
Making  of  Gordon.” 

Juliette  Compton  has  been  engaged  by 
Jay’s  Agency  to  go  to  Holland  to  play  in 
“The  Lion  and  the  Mouse.” 

H.  Westlake  informs  us  that  he  was  not 
engaged  by  Bramlins  to  play  in  “The 
Romany  ”  for  Welsh-Pearson. 

Harry  Worth,  who  is  playing  for  Martin 
Thornton  in  “The  Romany, ”  tells  us  that 
he  was  not  engaged  by  Bramlins. 

Arthur  Rooke  has  been  up  at  Blackpool  on 
the  exteriors  of  the  last  scenes  of  “The 
Sporting  Instinct  ”  for  Davidson. 

Dorien  Shirley  has  been  engaged  to  play 
Buanna  for  Sinclair  Hill  in  his  new  Stoll 
film,  “Petticoat  Loose  ”  (Zeitlin’s  booking). 

Eva  Llewelyn  is  playing  Mrs.  Spinks  in 
the  exteriors  of  “Hims — Ancient  and 
Modern,”  now  being  filmed  at  Herne  Bay. 

Mary  Odette  lias  been  engaged  by  Sidney 
Jay  to  play  in  “The  Lion’s  Mouse,”  and  is 
leaving  for  Holland  to  appear  in  the  film. 

Rex  Davis  is  playing  in  “The  Making  of 
Gordon,”  one  of  the  new  short  sporting 
features  being  made  by  Masters. 


LET  LIVE 

by  day  to  the  offices  and  wait  for  hours  on 
these  agents’  staircases,  have  not  had  a  ten 
days’  contract,  much  less  ten  weeks  or 
months,  and  have  a  worklesis  future  in  pros¬ 
pect.  It  cannot  be  urged  that  opera  singers 
were  more  suitable  types  or  more  capable, 
for  when  sitting  on  a  jury  or  as  audience 
for  a  boxing  match,  opera  singers,  no  matter 
how  brilliant  their  voices,  are  distinctly  not 
the  types,  nor  is  their  experience  on  opera 
stage,  with  its  conventions,  mannersims  and 
exaggeration,  of  any  use  on  the  screen  for 
such  parts  or  crowds.  Their  mere  absence 
from  a  studio  for  ten  months  unfits  them 
for  screen  work. 

Surely  these  opera  folk  would  promptly 
resent  the  intrusion  of  screen-actors  on  the 
opera  stage,  and  being  organised  could  even 
prevent  it.  Unorganised  screen-actors  can 
only  submit ;  they  are  powerless  for  self- 
defence. — Ess  Jee. 


H.  R.  Hignett  is  playing  for  Gaumont  in 
“  The  Scientist.” 

James  Donatus  is  with  Daisy  Productions 
in  “Gipsy  Blood.” 

David  Hawthorne  is  playing  for  Gaumont 
in  “The  Scientist.” 

Daisy  Agnew  is  playing  in  “Gipsy  Blood,” 
for  Daisy  Productions. 

Marjorie  Hume  is  playing  in  “The 
Scientist,”  for  Gaumont. 

Frank  Dane  is  playing  in  “The  Scientist,” 
the  new  Gaumont  production. 

Donald  Crisp  is  to  make  “God’s  Prodigal,” 
for  Donald  Crisp  Productions. 

Llarold  G.  Jones  is  photographing  “Gipsy 
Blood,”  for  Daisy  Productions. 

Bert  Haldane  is  directing  “Gipsy  Blood,” 
at  Barker’s,  for  Daisy  Productions. 

Walter  Forde  commences  work  on  his  first 
tliree-reeler  in  three  weeks’  time. 

Sinclair  Hill  is  to  direct  a  screen  version 
of  Rita’s  “Petticoat  Loose”  for  Stoll. 

Muriel  Gregory  has  been  playing  for  Pro¬ 
gress  Films  in  “Rogues  of  the  Turf.” 

Mary  Brough  is  playing  for  Welsh  Pear¬ 
son  in  “Squibs  Wins  the  Calcutta  Sweep.” 

Manning  Haynes  is  to  direct  “Dialstone 
Lane,”  a  W.  W.  Jacobs’  story  for  Artistic. 

Pat  Mannock  has  been  writing  the  scen¬ 
arios  of  the  new  Master  sporting  subjects. 

Claude  McDonald  is  to  photograph  “God’s 
Prodigal,”  for  Donald  Crisir  Productions. 

Madge  Stuart  is  starting  work  in  "A 
Gamble  with  Hearts  ”  for  Masters  on  Mon¬ 
day. 

Ambrose  Manning  is  playing  for  Welsh 
Pearson  in  “Squibs  Wins  the  Calcutta 
Sweep.” 

Fred  Le  Roy  Granville  is  to  make 
“Hennessey  of  Moresby,”  for  Granville  Pro¬ 
ductions. 

Fred  Paul  started  work  this  week  on  a 
screen  version  of  “The  Right  to  Strike  ”  for 
British  Supers. 

Miriam  Murray  has  been  appearing  in 
“Squibs  Wins  the  Calcutta  Sweep,”  for 
Welsh  Pearson. 

Frank  Miller  is  writing  some  of  the  scen¬ 
arios  for  the  new  sporting  subjects  being 
made  by  Masters. 

Stewart  Rome  has  returned  from  Iceland, 
where  he  has  been  playing  for  Stoll  in 
“The  Prodigal  Son.” 

George  Harris  has  been  engaged  to  play 
in  “Hims — Ancient  and  Modern,”  for  E.  D. 
Robert’s  Productions. 

Sidney  Jay  is  moving  to  Suite  13,  Palace 
House,  128-132,  Shaftesbury  Avenue,  on  Sep¬ 
tember  16.  His  ’phone  number  will  still  be 
Regent  4329,  and  his  telegraphic  address  will 
remain  the  same. 


THE  MOTION  PICTURE  STUDIO 


September  2,  1922 


SCREEN  VALUES 


MEASURING 
“ Son  of  Kissing  Cup." 

Walter  West  Productions — Directed  by 

Walter  .West — Starring  Violet  Hopson 
and  Stewart  Rome — Supported  by  Judd 
Green,  Cameron  Carr  and  Adeline 
Hayden  Coffin. 

This  is  a  well  directed  story  of  the_  popu¬ 
lar  sporting  drama  type.  Racing  dramas 
are  all  very  much  alike,  and  it  is  therefore 
not  surprising  to  find  that  this  film  pos¬ 
sesses  very  little  that  is  original  in  plot. 

Doubtless  it  will  go  well  with  the  public, 
which  is  said  to  be  fond  of  such  films. 

From  the  (technical  .standpoint,  Walter 
West  has  done  his  work  well,  and  it  must 
be  admitted  that  the  direction  is  excellent 
in  every  detail. 

Acting  is  good  throughout,  although  it 
might  be  said  there  is  not  much  oppor¬ 
tunity  for  great  things  in  this  direction. 

Stewart  Rome  gives  a  good  performance 
and  makes  \a  likeable  hero. 

Violet  Hopson  makes  the  most  of  her 
part,  although  she  might  have  been  pro¬ 
vided  with  some  role  that  gave  her  a  better 
opportunity  to  display  her  histrionic  ability. 

Cameron  Carr’s  performance  is  an  ex¬ 
cellent  one,  and  he  again  demonstrates  that 
as  a  screen  villain  he  is  second  to  none. 

A  clever  piece  of  characterisation  is  that 
supplied  by  Judd  Green,  as  the  bookmaker  ; 
this  is  probably  one  of  the  finest  pieces  of 
work  in  the  film. 

As  we  have  already  said,  the  story  is 
not  a  novelty,  but  the  scenarist  has  made 
the  most  of  it,  and  has  preserved  the  con¬ 
tinuity  fairly  well  throughout. 

The  photography  is  of  quite  a  high  stan¬ 
dard,  with  one  or  two  particularly  fine 
shots. 

SUMMARY. 

Direction. — Good. 

Leads. — Very  good. 

Supports. — Excellent. 

Literary. — Story  unoriginal,  continuity 
fairly  well  preserved,  and  scenario  good. 

Interiors. — Suitable. 

Exteriors. — Adequate. 

Photography. — Above  the  average. 

“  Tit  for  Tat." 

llepworth — -Directed  by  Henry  Edwards — 
Starring  Chrissie  White  and  Henry 
Edwards — Photography  by  Gaston 
Quiribet. 

This  is  quite  a  good  little  comedy  and 
up  to  the  standard  set  by  Hepworth  pic¬ 
tures.  The  film  was  made  under  the  direc¬ 
tion  of  Henry  Edwards,  who  is  to  be  con¬ 
gratulated  on  making  Jhe  most  out  of  all 
the  situations.  The  two  burlesque  dreams 
are  particularly  well  done.  There  are  many 


UP  THE  WEEK’S 

little  touches  which  considerably  enhance 
the  production,  but  which  are  too  numerous 
to  mention  here. 

On  the  whole,  “Tit  for  Tat”  can  be  de¬ 
scribed  as  a  thoroughly  entertaining  and 
delightful  film,  and  Edwards  is  to  be  con¬ 
gratulated  on  the  clever  way  he  has 
handled  this  subject. 

Acting  is  consistently  good,  all  the 
players  being  well  casted  and  well  directed. 

Henry  Edwards  is  quite  a  clever  come¬ 
dian,  and  his  work  in  this  picture  will  be 
appreciated  by  all.  It  is  unforced  and 
natural. 

Chrissie  White  succeeds  admirably  in  her 
two  roles,  that  of  an  old  lady  and  a  young 
woman.  This  is  quite  a  clever  piece  of 
work  on  her  part. 

Mary  Brough,  despite  the  smallness  of 
her  part,  is  one  of  the  outstanding  features 
of  the  film. 

An  excellent  character  sketch  is  provided 
by  Annie  Esmond. 

The  scenario  has  been  well  written,  and 
the  continuity  runs  smoothly.  The  scenarist 
is  responsible  for  much  of  the  success  of 
the  film,  as  a  result  of  his  clever  handling 
of  the  comedy  situations. 

Gaston  Quiribet’s  photography  is  up  to 
the  usual  high  standard.  There  are  many 
excellent  shots,  and  the  scene  where  the 
girl  looks  at  herself  in  a  mirror  through 
glasses  which  blur  the  vision,  and  then 
lifting  them,  clears  the  image,  is  a  remark¬ 
ably  effective  piece  of  work. 

SUMMARY. 

Direction. — Excellent. 

Leads. — Admirable. 

Supports. — Very  fine. 

Literary.  —  Continuity  smooth  and 
scenario  good. 

Lighting. — Well  done. 

Interiors. — Suitable. 

Exteriors. — Well  chosen. 

Photography. — First  class. 

“  The  Gypsy  Cavalier." 

Blackton — Directed  by  J.  Stuart  Blackton—- 
Starring  Georges  Garpentier  and  Flora 
Le  Breton — -Supported  by  Hubert  Car¬ 
ter,  Rex  McDougall,  Mary  Clare,  A.  B. 
Imeson,  Simeon  Stuart,  Percy  Standing, 
and  William  Luff — Photography  by 

Nicholas  Mursuraca — Scenario  by  Felix 
Orman. 

It  must  be  said  that  “The  Gypsy  Cava¬ 
lier  ”  is  a  splendid  production,  excellently 
directed,  acted  and  photographed,  but  for 
the  first  two  or  three  reels  it  moves  very 
slowly,  and  it  is  only  towards  the  end  that 
it  starts  off  with  a  rush. 

Throughout  the  picture  is  well  directed, 
but  the  final  scenes  of  the  flood  are  perhaps 


PRODUCT 

some  of  the  most  realistic  and  thrilling  that 
have  ever  been  presented. 

The  picture  wants  speeding  up,  and  if 
it  were  cut  would  be  greatly  improved. 

There  are  so  many  different  characters 
in  the  film  that  it  would  be  impossible  to 
give  a  list  of  even  all  the  leading  parts. 

Georges  Carpentier  is  disappointing,  and 
is  not  the  “find”  we  had  been  led  to 
believe  from  advance  reports.  He  photo¬ 
graphs  badly,  ;and  his  acting  is  just  average. 
Without  his  name  he  would  never  make  a 
film  star. 

Flora  Le  Breton  gives  a  very  fine  per¬ 
formance  in  her  role  as  Dorothy.  Un¬ 
doubtedly,  this  is  one  of  her  best  portrayals, 
and  should  do  much  to  increase  the  popu¬ 
larity  she  now  enjoys. 

Hubert  Carter  gives  an  excellent  study  as 
Griggs.  His  is  one  of  the  outstanding  parts 
in  the  film. 

Mary  _Clare,  as  Janet,  again  proves  that 
she  is  a  born  screen  actress,  and  that  be¬ 
fore  long  she  will  be  one  of  our  foremost 
English  screen  artistes. 

Percy  Standing  is  very  good  as  S.tirret. 
He  has  a  striking  screen  appearance,  and 
is  an  actor  of  great  ability. 

A.  B.  Imeson,  as  Ballard,  gives  an  ex¬ 
ceedingly  clever  performance. 

Simeon  Stuart’s  part  is  -all  too  short.  His 
acting  is  very  good  indeed. 

Rex  McDougall  has  one  of  the  most  im¬ 
portant  roles  in  the  film.  His  work  is  very 
fine,  and  his  acting  is  always  convincing. 
As  Carew  he  is  excellent. 

William  Luff,  Norma  Whalley,  W.  D.  C. 
Knox  and  Charles  Stuart  Blackton  are  all 
good  in  their  various  roles,  and  the  other 
members  of  the  cast  have  been  well  chosen. 

The  scenario  has  been  cleverly  written, 
although  the  first  few  scenes  move  slowly 
enough  and  might  make  an  audience  rest¬ 
less.  The  continuity  has  been  fairly  well 
preserved — a  difficult  thing  to  do,  consider¬ 
ing  the  many  incidents  and  characters  con¬ 
tinually  cropping  up. 

Nicholas  Mursuraca  has  done  very  well 
in  his  particular  sphere.  The  scenes 
around  the  camp-fire  and  of  the  cloud  effects 
are  masterpieces  in  themselves.  It  is  sel¬ 
dom  that  such  a  high  standard  in  photo¬ 
graphic  quality  is  attained. 

SUMMARY. 

Direction. — Admirable. 

Leads. — Flora  Le  Breton  very  fine.  Car¬ 
pentier  adequate. 

Supports.— Exceedingly  good. 

Literary. — Scenario  and  continuity  good. 

Lighting. — Some  excellent  effects. 

Interiors. — Very  well  done 

Exteriors. — Beautiful. 

Photography. — Seldom  equalled. 


OF  THE  STUDIO,  continued  from 


PULSE 

Director  :  George  A-  Cooper. 
Studio  Manager  :  S.  Folker 
Cameraman  :  R.  Terreaneau. 
Stage  :  One  a  week. 

Raleigh  King  Productions. 

Address  :  Watcombe  Hall,  Tor¬ 
quay. 

Studio  :  Vacant. 

Screenplays. 

Address  :  Cranmer Court,  Clapham 
Not  working. 

Seal  Productions. 

Address  :  171,  Wardour  Street. 

Not  working. 

Stoll. 

Address  :  Temple  Road,  Crickle- 
wood. 


Studio  Manager  :  J  Grossman, 
Film  :  “  The  Prodigal  Son.” 
Director:  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart 
Rome  and  Edith  Bishop. 
Cameraman  :  D.  P.  Cooper. 
Stage  :  Fifth  week. 


Film  :  “  A  Debt  of  Honour.” 
Director  :  Maurice  Elvey. 

Stars  :  Isobel  Elsom,  Clive  Brook 
and  Lionelle  Howard. 
Cameraman  :  Jack  Cox. 

Walker  Boyd  Sunshine  Produc¬ 
tions. 

Address  :  Ensign  Agency,  Wardour 
Street,  W.  1. 


Film  :  “  Hide  and  Seek.” 
Director  :  Martin  Walker. 
Cameraman  :  Bert  Ford. 

Stage  :  Cutting  and  Assembling. 


Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 
Stage  :  Scheduled. 

Walter  West  Productions. 

Address  :  Princes  Studios,  Kew 
Bridge. 

Film  :  “  The  Pruning  Knife.” 
Director  :  Walter  West. 

Star  :  Florence  Turner. 

Stage  :  Fifth  week. 


page  15. 

Welsh  Pearson. 

Address  :  41-45,  Craven  Park, 
Harlesden,  N.W.  10. 

Film:  ‘‘The  Romany.” 

Star  :  Victor  McLaglen. 

Director  :  Martin  Thornton. 
Cameraman  :  Percy  Strong. 

Stage  :  Fourth  week. 


Film  :  “  Squibs  Wins  the  Calcutta 
Sweep.” 

Director  :  George  Pearson. 

Star  :  Betty  Balfour. 

Cameraman  :  Emile  Lauste. 
Scenarists  :  Hugh  E.  Wright  and 
George  Pearson. 

Stage  :  Fourth  wsek. 


THE  MOTION  PICTURE  STUDIO 


September  2,  1922 


HOW  TO 

GET  THERE 


NEW  SERIES 

ON  OUR 


ROUTES  TO  THE  STUDIOS 


No.  IV. — Another 


BLACK  LIST 

Film  School  Tragedy. 


Stoll- — Bus  No.  16. 

Screenplays. — Bus  Nos.  5.  32,  67,  80,  88. 
Trams  2,  4,  6,  8. 

Davidson. — Bus  Nos.  35  and  38.  Trams 


81,  55,  57. 

G.E.R.  from 
Bridge  B,oad. 
10^d.,  3rd  7d. 
4d,  3rd  10^d. 
3.5,  4.37,  6.27. 


Liverpool  Street  to  Lea 
Pares:  1st  Is.  2d.,  2nd 
R.T.,  1st  Is-  9d.,  2nd  Is. 
A.m.,  10.34;  p.m.,  1.20, 
8. 


Lea  Bridge  to  Liverpool  Street:  P.m-, 

1.4,  5.27,  5.54,  6.29,  7.7,  8.4,  8.57,  10.4. 
Walter  West. — Bus  Nos.  27,  105. 

Broad  Street  to  Kew-  Fare:  1st  Is.  4d., 
3rd  9d.,  R.T.,  1st  2s.  OJkL,  3rd  Is.  4d. 
A.m.,  8.2  8.20,  8.45,  9.0,  9.47,  10.17,  10.47, 

11.17,  11.47;  p.m.,  12.17,  12.47,  1.17,  1.47, 

2.17,  2.47,  3.17,  3.47,  4.17,  4.31,  5.3,  5.17, 
5.32,  5.40  6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 
8.47,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street:  A.m., 
9.40,  10.8,  10.38,  11.8,  11.38;  p.m.,  12.8, 
12.38,  1.8,  1.33,  2.8.  2.38,  3.8,  3.38,  4.8,  4.38, 

5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20,  6.38,  7.8, 
7.38,  8.8,  8.38,  9.8,  9.38- 

B.  and  C.  Studio. — Bus  38.  Tram  81  to 
Bakers’  Arms.  G.E.R.,  Liverpool  Street 
to  Hoe  Street.  Fare:  1st  Is.  2d.,  2nd 
10jd.,  3rd  7d.  R.T.,  1st  Is.  9d.,  2nd 
Is.  4d.,  3rd  10^d. 

From  L.S. :  A.m.  7.58,  then  every  few 
minutes  until  p.m.,  9.5,  9.20,  9.35,  9.50, 

10.5,  10.20,  10-35,  10.50,  11.5,  11.20,  11.35, 
11.50;  12.5,  12.35  midnight. 

Hoe  Street  to  L.S. :  A.m.,  7.53,  8.2, 
8.8.,  then  every  few  minutes;  p.m.,  8.20, 
8.35,  8.50,  9.6,  9.20,  9.35,  9.49,  10.6,  10.20, 
10.36,  10.50,  11.6,  11.20,  11.35.  12.2. 
Alliance. — Bus  33a,  37.  Trains  from 

Waterloo  to  St.  Margaret’s.  Fare:  1st 
2s.  Ogd.,  3rd  Is.  0J,d.;  R.T.,  1st  3s.  Id., 
3rd  2s.  Id. 

From  Waterloo:  A.m.,  every  10 
minutes;  from  St.  Margaret’s  every  10 
minutes- 

F.P.-Lasky. — Tram  No.  11. 

Welsh  Pearson.— Bus  No.  18. 

British  Super.— Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central  Lon¬ 
don  and  Met.). 

From  Waterloo  to  Isleworth.  Fare: 
1st  Is-  0,Ld.,  3rd  9d.;  R.T.,  1st  Is.  9d., 
3rd  Is.  6d. ;  a.m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes  past  each 
hour  until  11.51  p.m.  Extra  trains, 
4.43,  5.13.  5.43,  6-13,  6.43,  7.13. 

Isleworth  to  Waterloo:  8.33,  8.44,  9.3, 
9.14,  9.33,  9.44,  10.14,  10.44.  Same  minutes 
past  every  hour  until  10.44,  11.14  p.m. 
Extra  trains  5.30,  6.0,  6.30. 

Master. — From  Waterloo  to  Teddington. 
Fare:  1st  2s.  7jd.,  3rd  Is.  4d. ;  RT.,  1st 
4s.  4gd.,  3rd  2s.  8d.  From  Waterloo, 
a.m.,  7.55.  Then  trains  every  few 

minutes  until  11.55  p.m.  From  Ted¬ 
dington,  a.m.,  7.51.  Then  trains  every 
few  minutes  until  11.1,  11.16,  11.51  p.m. 
Bus  27. 

Gaumont— Bus  Nos.  12,  17,  and  tram  from 
Shepherd’s  Bush  Station  (Met.). 
Hepworth. — From  Waterloo.  Fare:  1st 
4s.  llid.,  3rd  2s.  6d. ;  R.T.,  1st  7s.,  3rd 
4s.  4id. 

From  Waterloo:  A.m., 

10.20,  11.20;  p.m..  12.20, 

4.20,  4.54,  5.15,  5.20,  5.44, 

7.0,  7.20,  8-20,  8.55,  9.20, 

From  Walton:  7.59,  8.29,  8.41,  8.56,  9.9, 
9.46,  10.10,  11.10;  p.m.,  12.10,  1.10,  2.10, 

3.10,  4.11.  5.10,  5.44,  6.10,  7.10,  8.10,  9.10, 

10.10,  10.35,  11.34. 

Ideal.— Trains  from  St.  Pancras.  Fare: 
1st  2s.  lid.,  3rd  Is.  9^d ;  R.T.,  double 
fare.  A.m.,  7.30,  8  0,  8.50,  9.55,  10.45, 
11.40;  p.m.,  12.33,  1.1.3,  2.35,  3.55,  4.45, 
5.12,  6.2,  6.43,  6.48,  7-15,  8.8,  9.18,  10.35, 
11.35. 

From  Elstree  to  St.  Pancras: 

10.39,  11.25,  12.31,  1.8,  2.15,  3.7, 


7.0,  8.0,  9.20, 

1.20,  2-20,  3.20, 
5.54,  6.15,  6.20, 

10.20,  11.34. 


4-37,  5.29, 
10.56. 


6.21,  6.25,  7.36,  8.49, 


9.48, 

3.56, 

10.14, 


Thanks  to  a  perverted  law  of  libel,  the  effect  of  which  is  to  safe¬ 
guard  the  wrongdoer  and  penalise  the  journal  which  is  courageous 
enough  to  expose  him,  we  are  precluded  from  mentioning  the  names  of 
the  persons  in  the  Film  Industry  whom  we  are  exposing  in  this  series 
of  articles.  We  have,  however ,  the  full  facts,  including  the  name  of 
the  person,  relating  to  these  exposures.  Our  object  in  writing  them  is 
to  make  known  to  the  wrongdoer  the  fact  that  we  are  fullv  aware  of  his 
—  or  her — activities  which  will  receive  fuller  publicity  if  this  initial 
and  partial  exposure  does  not  cause  an  alteration  for  the  better. 
Readers  who  may  know  of  other  such  cases  are  asked  to  communicate 
with  us — their  letters  will  be  treated  in  strictest  confidence  and  no 
names  mentioned. 


T^IHE  revelation  in  the  Motion  Picture 
Studio  of  the  fleecing  of  widows  and 
other  unprotected  folk  by  certain  film 
schools  gives  me  courage  to  write  of 
another  widow  and  her  story  that  I  came 
across  recently. 

Mrs.  P -  told  me  that  she  had  lost 

money,  and  though  she  was  not  young, 
she  had  been  advised  to  use  a  little  of 
her  capital  to  train  for  some  profession 
by  which  she  could  add  to  her  income. 
Reading  scume  “  get-rich-quick  ”  adver¬ 
tisement,  she  decided  that  the  films  offered 
the  most  attractive  opening,  and  sold  out 
a  safe  investment  and  used  the  money 
for  training  purposes. 

She  was  readily  accepted  as  a  pupil, 
though  anyone  less  likely  to  be  able  to 
act  for  the  screen  could  not  be  imagined. 

I  could  not  make  her  tell  me  how  much 
she  had  paid  for  the  course,  but  I  gathered 
it  was  no  small  sum.  When  she  left  she 
could,  of  course,  get  no  work.  Nobody 
would  consider  giving  her  an  engagement 
for  even  crowd  work. 

Disheartened,  but  not  despairing,  she 
went  back  to  her  film  school,  she  told  me, 
where  the  man  who  had  “  trained  ”  her 
listened  to  her  story.  “  I  believe  in  you,” 
he  said,  “  and  I  am  willing  to  star  you 
myself  in  one  of  my  own  productions  on 
one  condition - .” 

She  jumped  at  the  offer  on  any  terms. 
What  woman  without  knowledge,  or  any¬ 
one  to  advise  her,  would  not  have  done? 
She  listened  while  she  was  told  plausibly 
that  once  her  acting  was  seen  “as  a 
star,”  she  would  be  “  made.”  The  poor 
thing  saw  rosy  visions,  she  told  me.  of 
the  future,  when  she  would  be  able  to 
buy  back  the  investments  she  had  sold  out 
in  order  to  attend  the  kinema  school,  and 
perhaps  even  put  by  a  little  towards  the 
rainy  dav  that  might  lie  ahead. 

The  “  one  condition  ”  of  her  stardom 
was  that  she  should  pay  a  fee  of  so  much 
down  in  hard  cash,  which  she  was  to  re¬ 
ceive  back  with  interest  on  the  sale  of 
the  film. 

She  told  me  she  paid  another  twenty- 
five  pounds,  for  which  she  received  in 
return  the  “star  part,”  which  was  offici¬ 


ally  described  as  “  the  fifth  leading  part  ” 
in  a  one  or  two-reel  play,  which  contained, 

I  think  she  said,  eight  characters  in  the 
cast.  All  these  “  stars  ”  she  understood 
were  paying  for  their  parts. 

She  said  she  acted  as  well  as  ever  she 
could  in  that  film.  Then  she  waited,  but 
the  money  did  not  come  that  was  to  repay 
her,  so  she  plucked  up  her  courage  to  go 
to  the  kinema  school  and  ask  when  she 
would  receive  her  money. 

The  answer  was  that  the  film  had  not 
sold.  I  asked  if  it  was  ever  Trade  shown, 
but  Mrs-  P.  did  not  know  that.  I  do  not 
think  she  had  ever  heard  of  a  Trade  show. 
Somebody  had  advised  her  to  sue  in  the 
Courts  for  a  return  of  her  money,  but 
she  smiled  rather  wistfully,  and  explained, 

“  They  would  all  laugh  at  me,  and  I 
should  not  get  my  money  back.  It’s  bad 
enough  to  have  been  made  a  fool  of ; 
one  doesn’t  want  to  advertise  it.” 

I  sympathised  with  her,  and  she  told 
me  that  the  man  was  really  very  sorry 
she  had  been  so  unlucky.  He  had  tried 
to  help  her  again.  In  fact,  he  had  given 
her  an  introduction  to  a  friend  of  his  who 
was  training  her  for  another  branch  of 
kinema  work.  He  had  a  great  scheme 
....  and  he  was  very  pleased  with  what 
she  had  done,  and  said  she  had  a  great 
future  before  her.  *■* 

“  Don’t  pay  away  any  more  of  your 
capital,”  I  begged  her,  but  she  answered, 
“  Well,  I  can’t  expect  him  to  train  me 
for  nothing — -can  I?  As  for  my  capital, 
there  isn’t  much  left  of  it,  and  wrhen  it’s 
finished,  I  don’t  know  what  is  going  to 
happen.” 

It  is  women  like  that,  of  course,  who 
make  life  easy  for  the  “  get-rich-quick  ” 
type  of  man.  The  need  of  money  is  driv¬ 
ing  people  into  business  who  do  not  under¬ 
stand  it.  Probably,  if  all  the  kinema 
schools  in  the  world  were  abolished,  they 
would  only  lose  their  money  some  other 
way.  You  cannot  save  people  from  them¬ 
selves.  Meanwhile,  one  can  only  hope 
for  a  speedy  retribution  for  those  gentry 
who  are  making  a  good  thing  out  of  fleec¬ 
ing  the  poor  and  needy. 


K  INI  C'lHT'C'^N  Played  Butler  in  “Flames  £>f  Passion,” 

v. ,  ft  T  ..  -  ■■  “If  Winter  Comes'" 

SMALL 


also 


“  The  Pruning  Knife.” 


Corns.:  59,  GLOUCESTER  CRESCENT,  REGENT'S  PARK. 

'Phone  :  Hampstead  889. 


12 


September  2,  1922 


THE  MOTION  PICTURE  STUDIO 


CLUB  CLATTER 

by  CLATTER  BOX 


TO  write  about  Club  matters  at  the  pre¬ 
sent  time  is  a  very  difficult  proposition, 
for  so  far  as  1  can  ascertain,  there  is  noth¬ 
ing  of  a  very  exciting  nature  happening 
at  the  minute.  The  Saturday  night  dances 
and  the  cricket  matches  still  go  on  and 
both  are  very  popular  with  the  members. 

With  the  winter  coming  on,  no  doubt 
there  will  be  more  members  turning  up 
to  the  Saturday  night  dances,  and  as  these 
are  already  remarkably  well  attended,  the 
Entertainments  Committee  will  be  faced 
with  the  problem  of  overcrowding.  Should 
such  contingency  arise,  I  have  no  doubt 
that  the  committee  will  be  able  to  deal 
with  it. 

My  curiosity  was  aroused  by  the  appear.- 
ance  of  a  mysterious  “gramophoney  ”  ar¬ 
rangement  in  the  gentlemen’s  lounge,  which 
I  learn  was  placed  there  by  Phil  Ross.  As 
no  doubt  many  members  have  noticed  this 
and  are  anxious  to  know  what  it  is  all  about 
I  will  tell  them.  It  appears  that  after  a 
recent  meeting  of  members,  the  Club  was 
crowded,  and  it  was  suggested  that  an  1m- 
promtu  dance  might  be  held.  Unfortunately 
no  music  could  be  supplied  and  the  dance 
did  not  materialise.  As  a  result  of  this, 
Ross  volunteered  to  supply  a  gramophone, 
which,  should  such  an  emergency  again 
arise,  would  supply  the  dance  enthusiasts 
with  suitable  melodies,  and  which  would 
also  come  in  useful  for  giving  the  band  a 
rest  on  dance  nights.  It  appeals  to  me  as 
an  excellent  innovation. 

Speaking  of  dances  and  the  winter  season, 
brings  to  mind  the  Kinema  Carnival,  which 
we  have  all  taken  for  granted  is  now  an 
annual  occurrence.  The  success  of  last 
year’s  dance,  especially  as  it  was  really  a 
very  hurried  affair,  reflects  the  greatest 
credit  on  the  organisers.  This  year,  as 
there  is  plenty  of  time  to  consider  the 
matter  and  organise  it,  it  should  be  an 
even  bigger  and  better  show. 

A  meeting  of  the  cricketing  section  of  the 
Club  was  held  on  Wednesday  last,  just  too 
late  for  publication  in  this  week’s  issue. 
The  members  met  to  discuss  the  subject 
of  renewing  the  ground  and  of  making  an 
offer  to  the  King’s  College  people  regarding 
the  ground.  The  cricketers  are  now  putting 
away  their  bats  until  next  season,  when 
they  will  burst  out  upon  us  with  renewed 
vigour. 

On  the  whole  the  Cricket  Club  has  not 
done  badly  during  the  season ;  it  has  had 
some  defeats  and  quite  a  number  of  wins.  I 
am  loeking  forward,  however,  to  seeing  the 
Kinema  Club  Footballers.  We  have  quite 
a  number  of  good  players  among  the 
members  and  quite  a  formidable  eleven 
should  be  put  on  the  field,  if  the  experts 
can  be  discovered  in  our  ranks. 

A  CRICKET  GRIEVANCE 

May  I  crave  space  (writes  Geoffrey 
Benstead)  to  voice  a  mild  grievance  in  con¬ 
nection  with  the  supreme  effort  that  the 
staunch  playing  members  of  the  Kinema 
Cricket  Club  made  in  endeavouring  to  ad¬ 
minister  defeat  upon  one  of  the  leading 
cricket  teams  of  Kent,  viz.,  the  Bromley 
Cricket  Club.  You  quoted,  in  your  last 
week’s  issue,  that  while  the  bowlers  were 
inflicting  defeat  upon  the  opposition  at 
that  game,  the  Kinema  Cricket  Club  were 
being  beaten  at  cricket.  May  I  please  en¬ 
lighten  you?  At  7.15  p.m.  the  umpires  gave 
instructions  to  draw  stumps  and  the  position 
of  the  scores  at  that  time  painted  indis¬ 
putably  to  a  drawn  game,  but  owing  to  a 
sportsmanlike  decision  on  the  part  of  our 
popular  captain,  Douglas  Payne,  the  game 
was  continued  for  one  more  “over,”  which 
allowed  our  opponents  to  inflict  defeat  upon 
us  by  two  or  three  runs  and  one  wicket 
to  fall.  This  was  certainly  rather  hard 
upon  such  excellent  cricketers  as  Robert 
English,  who  contributed  in  a  most  accom¬ 
plished  manner  118  runs  to  our  side,  Noel 
Bridgeman,  a  real  No.  1  all-round  player, 
Cyril  Smith,  K.  W.  Gordon  and  others,  not 


to  mention  one  or  two  “  also-rans  ”  like 
myself,  who  seemed  to  specialise  in  making 
none  or  a  minimum  amount  of  rugs,  re¬ 
peatedly  and  consistently  chasing  leather 
to  the  boundaries  for  hours;  but  when  we 
understand  that  it  was  really  an  effort  on 
the  part  of  our  captain  to  pay  tribute  to 
the  high  standard  of  the  Bromley  Cricket 
Club’s  hospitality,  there  is  only  one  view 
to  take.  I  am  pleased  to  report  that  we 
were  successful  by  the  narrow  margin  of 


The  monthly  meeting  of  the  British  Asso¬ 
ciation  of  Film  Directors  was  held  at  the 
Kinema  Club,  on  Friday  night,  August  25, 
when  the  President  (Percy  Nash)  reported 
the  receipt  of  a  letter  from  a  firm  of  film 
manufacturers,  asking  that  the  Association 
appoint  from  its  members  an  arbitration 
committee  to  deal  with  a  dispute  over  a 
picture.  The  Association  unanimously  re¬ 
solved  to  appoint  a  committee,  the  names 
of  whom  will  not  be  divulged  to  either 
parties  to  the  dispute,  and  the  Hon.  Secre¬ 
tary  (W.  G.  Faulkner)  was  asked  to  inform 
the  manufacturers  of  this  decision. 

The  principal  business  before  the  meeting 
was  the  discussion  of  the  recent  attacks 
made  upon  the  British  film  industry  by 
certain  people,  principally  by  one  who  is 
the  responsible  head  of  a  firm  of  British 
manufacturers.  The  president,  Mr.  Nash, 
opened  the  discussion,  expressing  the  view 
that  if  these  attacks  upon  directors,  scenario 
writers,  and  artistes  had  been  confined  to 
the  Trade  Press  the  matter  could  have  been 


WO  weeks  ago  the  Motion  Picture  Studio 
criticised  Jeffrey  Bernerd  for  statements 
he  had  made  on  the  subject  of  the  weakness 
of  British  films.  This  was  interesting,  if  only 
by  virtue  of  the  fact  that  Mr.  Bernerd  un¬ 
doubtedly  holds  an  important  position  in 
the  British  film  world.  I  should,  however, 
like  to  join  issue  with  him  over  some  of  his 
statements. 

Amongst  other  things  he  says,  “Most  of 
all,  we  lack  ideas.”  Now,  apart  from  the 
fact  that  I  do  not  agree  with  this  opinion, 
I  should  like  to  know  in  what  direction  hi9 
own  firm  has  encouraged  the  original 
scenario  or  “  ideas.” 

I  am  not  infallible,  but  I  cannot  call  to 
mind  any  product  of  the  Stoll  studios  based 
on  an  original  story,  except  in  the  case  oi 
A.  E.  Coleby,  who  has  been  allowed  to 
make,  I  think,  one,  probably  because  he  was 
unquestionably  successful  in  writing  and 
producing  his  own  stories  long  before  he 
joined  the  firm. 

It  is  obvious  that  if  a  firm  block-books  its 
films  before  they  are  made,  they  know 
exactly  how  much  money  they  can  spend  on 
production  without  jeopardising  the  all- 
important  dividends.  The  result  of  this 
policy  is,  of  course,  that  the  unfortunate 
director  is  given  a  scenario  and  a  totally 
inadequate  sum  and  told  that  he  has  a 
totally  inadequate  period  in  which  to  make 
his  picture. 

Furthermore,  incredible  as  it  may  sound, 
thei  director  has,  in  many  instances,  to  sub 
mit  his  cast  to  the  artistic  eye  of  the 
managing  director  for  approval ! 

Well,  how  can  any  man  with  any  ideas 
or  individuality  of  his  own  he  expected  to 
turn  out  decent  stuff  under  these  conditions. 
It  is  the  opinion  of  a  large  number  of 
people  who  should  know  that  the  Stoll 
organisation  has  not  yet  turned  out  a 


three  runs  on  the  occasion  of  our  playing 
the  Brondesbury  team  last  Sunday  on  our 
own  ground.  As  the  one  whose  duty  it  is  in 
the  capacity  of  honorary  treasurer  to  entice 
from  members  and  players  the  wherewithal 
to  meet  our  cricketing  requirements,  to  en¬ 
able  us  to  pay  for  ground  fees,  cricketing  im¬ 
plements,  etc.,  may  I  appeal  to  you,  dear 
Mr.  Editor,  to  call  along  yourself  or  to  send 
a  worthy  representative  to  judge  justly  the 
humble  efforts  of  a  few,  who  sincerely  have 
the  sporting  side  as  well  as  the  interests 
and  general  welfare  of  the  Kinema  Club  at 
heart.  I  am  sure  that  as  the  adopted 
official  organ  of  the  Club,  you  will  extend 
this  concession  to  us,  and  in  future  games, 
if  we  justly  deserve  an  inky  castigation, 
let  us  have  it. 


ignored,  as  the  Trade  knew  exactly  the 
value  to  put  upon  them.  Made,  however, 
in  the  lay  Press,  they  were  in  his  opinion 
doing  more  harm  to  the  British  film  indus¬ 
try  than  any  other  form  of  hostility  that 
had  been  shown  by  anyone  inside  or  outside 
the  Industry. 

Interesting  and  informative  speeches  were 
made  by  most  of  the  members,  and  eventu¬ 
ally  it  was  decided  that  a  publicity  cam¬ 
paign  for  placing  the  facts  about  British 
productions  should  be  entered  upon,  and 
that  it  would  be  unwise  to  answer  in  the 
form  of  resolutions,  the  attacks  made  by 
the  chief  offender,  who  could  very  well  be 
left  to  give  the  reasons  to  the  concern  with 
which  he  is  connected,  for  making  and 
continuing  to  make  pictures,  if  the  state 
of  affairs  were  such  as  he  had  outlined. 

The  Association  unanimously  decided  to 
hold  a  dinner  in  October  to  which  the 
principal  heads  of  the  British  film  indus¬ 
try  will  be  invited  as  guests  of  the  Asso¬ 
ciation. 


“big  ”  picture,  despite  their  resources.  Its 
past  policy  cannot  but  prove  detrimental  to 
the  British  trade. 

Mr.  Bernerd  is  quoted  as  saying  that  he 
thinks  “  block-booking  is  a  form  of  insur¬ 
ance  for  the  exhibitor  against  the  chance 
of  an  empty  screen.”  The  only  insurance 
an  exhibitor  gets  is  that  his  program  may 
consist  of  what  is  commonly  known  as 
“tripe.”  I  know  of  a  recent  case  wherein 
a  company  that  has  so  far  turned  out  the 
best  English  pictures  was  under  contract 
with  a  well-known  firm  of  block-booking 
distributors.  Under  the  former’s  agreeemnt 
they  were  compelled  to  finish  a  picture  by 
a  certain  date  on  which  it  had  been  pro¬ 
mised  to  exhibitors.  The  result  was  that 
most  of  the  film  was  photographed  in  the 
rain,  and  the  escutcheon  of  this  really  pro¬ 
mising  firm  was  blotted  by  a  “dud.”  And 
yet  Mr.  Bernerd  says  that  “  the  exhibitor 
booking  in  advance;  does  not  run  any  appre¬ 
ciable  risk  of  getting  poor  stuff.” 
He  is,  of  course!,  right  in  saying  that 
“British  films  can  only  reach  the  American 
market  by  sheer  merit,”  but  block-booking 
is  anathema  to  sheer  merit. 

From  a  commercial  point  of  view  it  should 
be  the  aim  and  object  of  all  producing  com 
panies  to  compete  successfully  in  the 
American  market  on  account  of  their  18,000 
theatres,  but  no  consistent  effort  has  yet 
been  made  by  any  English  concern  in  that 
direction,  with  the  exception,  perhaps,  of 
George  Clark,  Welsh-Pearson  and  Astra. 
On  the  other  hand,  Germany  is  forging 
ahead  with  that  one  object  in  view. 

Mr.  Bernerd  is  at  liberty  to  find  fault 
with  “British  directors,  scenarists,  artistes 
and  ideas,”  but  may  I  suggest  a  change  of 
production  policy  might  be  equally 
efficacious. 


THE  DIRECTORS’  ASSOCIATION 


BRITISH  PRODUCERS  AND  BLOCK  BOOKING 

by  “  COUNTERCHARGE  ” 


13 


THE  MOTION  PICTURE  STUDIO 


September  2,  1922 


CAMERAMEN’S  SECTION 

News  and  Views 
and 

Record  of  Activities  of  Rine-Cameramen 


THE  BALL  AND  CHAIN 


rpHE  main  object  in  fastening  a  ball  and  j 
1  chain  around  the  ankle  of  a  convict  j 
was  to  hinder  his  progress,  should  he  [ 
attempt  to  run  away.  To  stop  progress,  it 
is  only  necessary  to  have  something  there 
to  hinder.  The  ball  and  chain  is  an 
instance.  It  was  utilised  a  few  years  ago 
on  those  individuals  who  were  not  ingenious 
enough  to  keep  out  of  prison,  in  order  to 
hinder  them  in  case  they  suddenly  became 
clever  and  enterprising  enough  to  escape. 
The  placing  of  restrictions  of  various  kinds 
can  also  act  as  hindrances,  and  in  the 
film  profession  it  will  be  found  that  they 
are  responsible  to  a  great  extent  for  slowing 
down  the  progress  of  our  art.  They  do 
not  apply  to  the  cameramen  alone,  but. 
as  this  section  is  for  the  cameraman,  it 
is  from  this  individual  viewpoint  we  will 
deal. 

Restrictions  and  interference  are  the  two  , 


great  obstacles  with  which  the  cameraman 
has  to  contend,  and  more  often  than  not 
the  restrictions  are  placed  upon  him  by 
some  person,  who,  if  asked  what  a  negative 
was,  would  give  some  vague  answer  about 
it  being  used  by  Members  of  Parliament. 
To  be  continually  battling  against  this  sort 
of  individual  means  that  improvements  in 
photography  will  be  necessarily  slow. 

Cameramen  should  be  given  a  free  hand. 
We  do  not  suggest  that  the  cameraman 
should  be  allowed  to  do  and  say  whatever 
he  likes,  but  that  so  far  as  his  own  work 
goes  he  should  be  free  from  restrictions, 
and  provided  he  gets  good  results,  should 


be  allowed  to  carry  on  in  his  own  way. 
If  a  certain  sum  of  money  were  expended 
upon  material  for  the  cameramen  to  carry 
on  experimental  work,  his  employers  would 
find  a  distinct  improvement  in  the  quality 
of  the  photography  of  their  productions. 
The  day  when  such  a  state  of  affairs  does 
exist  is  still  far  off,  but  doubtless  producing 
firms  will  at  some  time  or  other  wake  up 
to  the  possibilities  of  such  a  system  and 
see  that  it  is  all  for  their  own  good  in 
the  end. 

Meantime  we  must  content  ourselves  with 
present  conditions  in  the  hope  that  instead 
of  hindering  their  cameraman,  employers 
may  soon  go  out  of  their  way  to  help  him. 


THE  WILL  DAY  EXHIBITION 


To  those  connected  with  the  technical 
side  of  the  profession  the  exhibition  of 
kinmatograph  relics  on  show  at  the  South 
Kensington  Museum,  Science  Annexe,  will 
prove  remarkably  interesting. 

One  of  the  most  unique  articles  among 
the  exhibits  is  a  book  which  shows  a 
practical  projector  made  in  1640. 

Many  and  varied  are  the  means  that  have 
been  tried  to  make  moving  pictures.  Muy¬ 
bridge,  one  of  the  pioneers,  believed  that 
moving  pictures  could  only  be  made  by 
the  help  of  a  battery  of  cameras  and  some 
of  the  many  pictures  he  has  taken  by  this 
means  are  shown. 

Perhaps  some  of  the  most  interesting  ex¬ 
hibits  are  those  showing  the  various  in¬ 
ventions  of  the  late  Friese-Greene.  Some 
of  his  original  film,  colour  and  otherwise, 
is  on  show. 

Edison’s  early  projection  machines  are 


Perhaps  a  not  inappropriate  comment— 
with  which  I  feel  sure  the  majority  of 
artistes  will  agree — on  the  suggestion  made 
by  Rupert  Crew  not  to  encourage  American 
invasion  on  British  Film  territory  by  wel¬ 
coming  American  directors  and  by  accepting 
work  from  them,  is :  Why  don’t  British  direc¬ 
tors  give  more  opportunities  and  a  fairer 
field  to  their  own  artistes?  The  present  pro¬ 
cedure  is  detracting  from  the  public’s  in¬ 
terest  in  the  individual  work  of  the  screen 
— engaging  leads  from  notorious  social,  stage 
and  sporting  circles,  and  sometimes  from 
America,  in  preference  to  other  countries. 
This  we' know  has  been  done  by  several  of 
our  largest  firms. 

We  have  no  world-famous  stars  in  Eng¬ 
land  now— the  most  popular  in  the  early 
days  slipped  over  to  America  to  become 
famous ! 

Is  this  state  of  affairs  the  fault  of  the 


exhibited,  while  the  first  kine.  cameras 
and  films  are  also  tp  be  seen. 

One  very  remarkable  thing  about  all  the 
exhibits  is  the  number  of  mirrors  used  in 
getting  the  proper  results.  Such  a  thing 
is  hardly  ever  used  nowadays  in  making 
or  projecting  moving  pictures.  Surely  there 
are  many  spheres  in  which  the  mirror  could 
be  helpful. 

A  close  study  of  some  of  the  early 
machines  suggest  many  ways  in  which  some 
of  the  present  day  outfits  might  be  im¬ 
proved.  Cameramen  will  find  the  exhibition 
not  only  interesting  but  also  instructive, 
for  in  the  collection  are  many  little  facts 
regarding  kinematography  hitherto  un¬ 
known. 

The  exhibits  belong  to  the  unique  col¬ 
lection  of  kinematographic  articles,  which 
Will  Day  has  spent  many  years  in  getting 
together. 


many  of  our  most  talented  and  ambitious 
artistes  ? 

The  American  directors  seem  to  have  been 
more  faithful  to  their  own  artistes,  having 
with  foresight  and  an  eye  to  the  picture- 
goer’s  demand  for  stars,  fostered  and  studied 
their  actors  and  actresses.  The  subsequent 
great  international  popularity  of  these  stars 
has  perhaps  been  the  greatest  asset  in  the 
filling  to  overflowing  of  their  Industry’s 
coffers. 

And  so  it  matters  not  to  the  British  artiste 
whence  comes  the  bread  and  butter  so  long 
as  they  get  it  I 

Nevertheless,  they  can  to  an  extent  help 
themselves  indirectly  by  expressing  the  de¬ 
sire  for  English  pictures  at  kinemas  and  a 
little  ennui  of  the  American— a  pro¬ 
paganda  which  might  develop  wonders  if 
all  producing  companies  will  substantially 
co-operate.— Peggy  Ridley  Baker. 


CAMERAMEN 
AT  WORK 

LESLIE  EVELIEGH  was  up  at  Black¬ 
pool  during  the  week  filming  some  of 
the  exteriors  for  the  new  Davidson  film, 
“The  Sporting  Instinct.”  This  is  the  last 
week  of  the  film,  henceforth  it  will  enter 
the  cutting  and  editing  stage. 

Basil  Emmott,  who,  with  A.  St.  Brown, 
has  been  filming  “Rob  Rov'”  has  now 
started  work  on  a  new  Gaumont  film,  which 
Capt.  Calvert  is  directing.  The  film  is  to 
be  taken  in  London  and  Bournemouth. 

Frank  Grainger,  having  completed  the  film¬ 
ing  of  “The  Skipper’s  Wooing,”  a  new 
W.  W.  Jacobs’  story,  is  now  preparing  to 
commence  work  on  a  new  Artistic  picture, 
also  a  W.  W.  Jacobs’  story  called  “Dial- 
stone  Lane.”  Grainger  has  been  associated 
with  Artistic  for  some  months  past,  and  has 
filmed  all  that  company’s  big  successes, 
including  the  W.  W.  Jacobs’  series. 

A.  Arch,  who  is  responsible  for  most  of 
the  work  in  connection  with  the  camera¬ 
men’s  outing,  has  been  away  filming  on 
the  Continent. 

Silvano  Balboni  has  left  for  America  to 
film  a  new  production  which  Harold  Shaw 
is  directing.  Balboni  manages  to  get 
around.  Recently  he  went  to  Italy  with  the 
Seal  Company,  he  had  just  arrived  back 
from  Tripoli,  where  he  has  been  filming 
for  Granville  Productions,  when  he  is  again 
called  upon,  this  time  to  go  to  America. 

Another  cameraman  traveller  is  D.  P. 
Cooper,  who  has  just  arrived  back  from 
Iceland.  Cooper,  I  understand,  had  a  very 
exciting  time  when  with  Henry  Victor  and 
A.  E.  Coleby,  he  undertook  an  adventurous 
journey  to  the  volcanic  regions  of  Iceland, 
for  some  of  the  scenes  of  “The  Prodigal 
Son.” 

To-morrow  (Sunday)  the  first  outing  of 
tfie  Kine.  Cameramen’s  Society  will  be 
held,  and,  providing  the  weather  is  fine, 
everything  points  to  its  being  an  enormous 
success.  The  party  will  proceed  to  Runny- 
mede  on  board  the  Princess  Beatrice,  where 
sports  and  dancing  will  be  held.  Lunch 
and  tea  are  being  served  on  the  way.  The 
secretary  still  has  a  number  of  tickets  in 
hand  and  these  can  be  purchased  at  15s. 
each.  They  include  lunch  and  tea. 


FOR  HIS  OWN  GOOD 

every  Cameraman  should  join  the 

KINE-CAMERAMEN’S  SOCIETY 


President — H.  A.  SANDERS. 


Secretary — KENNETH  GORDON. 


LOSING  BRITISH  STARS 


14 


September  2,  1922 


THE  MOTION  PICTURE  STUDIO 


fyct&e  -of  tfu.  “i^Zlclur 

PRODUCTIONS  AND  WHO  IS  WORKING  ON  THEM 


Alliance  Film  Co. 

Studio  :  St.  Margaret’s,  Twicken¬ 
ham. 

Film  :  Not  announced. 

Director  :  Harley  Knoles. 

Stage  :  Starting  shortly. 

Artistic  Films,  Ltd. 

Address  :  93-95,  Wardour  Street, 

W.  1. 

Film  :  “  Skipper’s  Wooing.” 
Director  :  PI.  Manning  Haynes. 
Stars  :  Johnnie  Butt,  Bobbie 
Rudd  and  Gordon  Hopkirk. 
■Cameraman  :  Frank  Grainger. 
Scenarist  :  Lydia  Hayward. 

Type  :  W.  W.  Jacob’s  Comedy. 
Stage  :  Cutting  and  Assembling. 


Film  :  “  Dialstone  Lane.” 

Stage  :  Scheduled. 

Barkers. 

Address  :  Ealing  Green,  London, 
W.  5. 

Studio  :  Being  used  by  Daisy 
Production. 

Br  tish  and  Oriental. 

Address  :  B.  P.  Studios,  Thornton 
House,  Thornton  Road,  Clapham 
Park. 

Studio  being  used  by  Quality  Films 

B  &  C.  Productions. 

Address  :  Hoe  St.,  Walthamstow. 
Film  :  Historial  Incidents. 
Director  :  George  Ridgwell. 
Cameraman  :  I.  Roseman. 

Type  :  One  reelers. 

Stage  :  One  a  fortnight. 

British  Productions. 

Address  :  Selborne  Road,  Hove. 
Film  :  “  The  Field  of  Honour.” 
Stage  :  Completed. 

British  Super  Films. 

Address  :  Worton  Hall,  Isleworth. 
Film  :  “  Castles  in  the  Air.” 
Director  :  Fred  Paul. 

Stars  :  Nelson  Keys,  Lilian  Hall 
Davies,  Campbell  Gullen,  Mary 
Rorke  and  Julian  Royce. 

Stage  :  Third  week. 

Film  :  “  The  Right  to  Strike.” 
Stage  :  First  week. 

Daisy  Producti  ns. 

Address  :  Barker’s  Studio,  Ealing 
Film  :  “  Gipsy  Blood.” 

Director  :  Bert  Haldane. 

Star:  Daisy  Agnew  and  J.  Donatus 
Cameraman:  H.  G.  Jones. 
Scenarist  :  Daisy  Agnew. 

Stage  :  Nearing  completion. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson 

Address  :  Lea  Bridge  Road,  E.  10. 
Eilm  :  “  The  Sporting  Instinct.” 
Director  :  Arthur  Rooke. 

Stars  :  J.  R.  Tozer  and  Lilian 
Douglas 

Scenarist  :  Kinchen  Wood. 
Cameraman  :  Leslie  Eveleigh. 
Stage  :  Cutting  and  Assembling. 

Donald  Cr.sp  Productions. 

■  .Studio  :  F.  P.-Lasky,  Poole  Street, 
Islington. 

Film  :  “  God’s  Prodigal.” 
Director  :  Donald  Crisp. 

Stage  :  Casting. 

Etwctrd  D.  Roberts  Productions 

Film  :  “  Hims  —  Ancient  and 

Modern.” 

Director  :  E.  D.  Roberts. 


Scenarist  :  C.  Lowndes  Yates  and 
Muriel  Alleyne. 

Star  :  Athalie  Davis. 

Stage  :  Scheduled. 

r.  P.-Lasky. 

Address  :  Poole  Street,  Islington. 
Studio  being  used  by  Grahame 
Cutts. 

Gaumont. 

Studio  :  L'me  Grove,  Shepherd’s 
Bush,  W.12. 

Film  :  “  Rob  Roy.” 

Director  :  Will  Kellino. 

Star  :  David  Hawthorne. 
Cameraman  :  A.  St.  Brown. 

Type  :  Historical  drama. 

Stage  :  Cutting  and  Assembling. 


Film  :  “  The  Scientist.” 

Director  :  Capt.  Calvert. 

Star  :  Marjorie  Hume,  David  Haw¬ 
thorne,  H.  R.  Hignett  and  Frank 
Dane. 

Scenarist  :  Alicia  Ramsay. 

Stage  :  First  week. 

Ceorge  uiark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Film  •  “  Maid  of  the  Silver  Sea.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Stage  :  First  week. 

Crarvile  Prcductions. 

Address  :  Windsor  Studios,  Cat- 
ford. 


STUDIO  DIRECTORY 

Addresses  and  ’Phone  Nos.  of  all  British  Studios 


Alliance  Film  Co.,  St.  Margaret’s-OD- 
Thames.  ’Phone  :  Richmond  1945. 

Artistic  Films,  93-95,  Wardour  Street, 
W'l.  ‘Phone  :  Gerrard  3210. 

Barker  Motion  Photography,  Ltd., 
Ealing  Green,  London,  W.5.  ’Phone 
Ealing  211  and  1582 — Barmopho,  F.alux. 

British  &  Colonial  Kinematograph 
Co.,  Ltd.,  Hoe  Street,  Walthamstow, 
E.  17.  ’Phone  :  Walthamstow  364 

and  712. 

British  and  Oriental  Films,  Ltd., 
Thornton  House,  Thornton  Bond ,  Clap- 
ham  Park.  ’Phone  :  Streatham  2652. 

British  Famous  Films,  Ltd.,  “Wood¬ 
lands,”  High  Road,  WhetstoDe,  N.20. 
Phone  :  Finchlej'  t297. 

British  Photoplays,  Devon  Chambers, 
28  Fleet  Street,  Torquay, 

British  Super-Productions,  Worton 
Hall,  Islew’ortli.  ’Phone:  Hounslow  212. 

'Davidson,  I.  B.,  588,  Lea  Bridge  Road, 
Leyton,  E.10.  ’Phono,  Walthamstow  634 

Famous  Players-Lasky  British  Pro¬ 
ducers,  Ltd.,  Poole  Street,  New’ 
North  Road,  Islington,  N.l.  ’Phone  : 
Dalston  2770. 

Gaumont  Co.,  59,  Lime  Grove,  Shepherd’s 
Bush,  London,  W.12.  ’Phone  :  Hammer¬ 
smith  2090-1-2 - Prologue,  ’Phone 

London. 

Granville  Productions,  Windsor 
Studios,  Eromley  Road,  Catford.  ’Phone: 
Lee  Green  948, 

Gp.anger — Binger,  Haarlem,  Holland. 
London  Office  :  Granger’s,  Exclusives, 
191,  Wardour  Street,  W.l.  ’Phoue  : 
Gerrard  1081  and  1728.  Telegrams  : 
Exclugrang,  London. 

George  glare  Productions,  47,  Berners 
Street,  W.l.  ’Phone  :  Museum  3012. 
Studio  :  Candlemass  Lane,  Beacons - 
field. 

Glen  Film  Producing  Co.,  Ltd.,  20, 
Lisle  Street,  London,  W.C.,  and  “Bel- 
grave,”  Marine  Terrace,  Aberystwyth. 

Harma  Clarendon  Co  ,  16  Limes  Road. 
Croydon.  ’Phone  :  Croydon  921  and 
2C84- - Cinemat. 


Hepworth  Picture  Plays,  Ltd.,  Hurst 
Grave,  Wniton-on-Thames.  ’Phone  : 

V\  alton-on-Thames  16 - Hepworth 

Walton. 

Ideal  Film  Co.,  Ltd.,  Boreham  Wood 

Elstree,  Herts.  'Phone  :  Elstree  52 - 

Idefilms,  Borehamwood. 

International  Artists  Film  Co.,  Ltd., 
52  Shaftesbury  Avenue,  W.l. 

Isle  of  Man  Film  Co.,  The  Manx  Studios, 
Isle  of  Man. 

J.  Stuart  Blackton  Productions,  Bush, 
House,  Aldwvch.  ’Phone  :  Central  1935 

Master  Films,  Weir  House,  Broom  Boad. 
Teddington.  ’Phone  :  Kingston  1617. 

Minerva  Film  Co.,  Ltd.,  110,  Victoria 
Street,  S.W.l.  ’Phone  :  Victoria  7545. 

Progress  Film  Co., The  Peach,  Shoreham- 
ty-Sea,  Sussex.  ’Phene  :  Shoreham 
19. 

Quality-  Films,  B-P.  Stud  os,  Thornton 
House,  Thornton  Rd„  Clapham  Park. 
’Ihone  :  Streatham,  2652 

Raleigh  King  Productions,  Watcombe 
Hall,  Torquay. 

Kegulus  Films  :  48,  Carnaby  Street 

Regent  Street,  W.l. 

Screenplays.  Ltd.,  Cranmer  Court,  High 
Street,  Clapham,  W. 4.  ’Phone:  Brixton 
2956. 

Seal  Productions,  181,  Wardour  Street 
London,  W.l.  ’Phone:  Cegent  4  329 

Stoll  Picture  Productions.  Ltd..  Tem¬ 
ple  Bead,  Cricklewood,  N.W.2.  Willes- 
den  3293- - Stollpic,  Crickle,  London. 

Torquay  &  Paignton  Photoplays,  Ltd., 
Public  Hall,  Paignton,  S.  Devon. 

Union  Film  Co.,  Strand  Street, 
Liverpool.  ’Phone  :  Central  325 

Walter  West  Productions  :  Prince’s 
Studios,  Kew  Bridge,  Brentford,  Middle¬ 
sex.  ’Phone  :  Chiswick  574. 

Wel=h,  Pearson  <£  Co.,  41-45,  Craven 
Park,  Harlesden  N.W.10.  ’Phone  : 
Willesden  £862. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


U 


’Phone 


DEBRIE 


9 9 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W.  i 


Film  :  “  Shifting  Sands.” 
Director  :  Fred  Granville. 
Starring  :  Peggy  Hyland. 
Type  :  Five  reel  drama. 
Stage  :  Nearing  completion. 


Film  :  “  Hennessey  of  Moresby.” 
Stage  :  Starting  shortly. 

Grahame  Wilcox  Productions. 

Address  Poole  Street,  Islington. 
Film  :  Flowers  of  Passion.” 

Director  :  Grahame  Cutts. 

Star  :  Mae  Marsh. 

Stage  :  Cutting  and  Assembling 

Film  :  “  Paddy  the  Next  Best 

Thing.” 

Director  :  Grahame  Cutts. 

Stage  :  Scheduled. 

Hardy. 

Address:  13,  Gerrard  St.,  W.l. 
Film:  “The  Adventures  of  Billy 
Bunter.” 

Type  :  Comedy  Series. 

Stage  :  Scheduled. 

Hepworth  Picture  Plays. 

Address  :  Walton-on-Thames. 
Film  :  Not  announced. 

Director  :  Henry  Edwards. 

Ideal. 

Address  :  Boreham  Woods,  Elstree, 
Herts. 

Studio  Manager  :  F.  A.  Kendrick. 
Stage  Manager  :  F.  G.  Knott. 
Film  :  “  Mary  Queen  of  Scots.” 
Director  :  Denison  Clift. 

Star  :  Fay  Compton. 

Scenarist  :  Denison  Clift. 

Stage  :  Preparing  Scenario. 

Film  :  “  The  Grass  Orphan.” 
Director  :  Frank  Crane. 

Star  :  Margaret  Bannerman. 

Stage  :  Sixth  week. 

Film  :  “  Harbour  Lights.  ’ 

Director  :  Tom  Terriss. 

International  Artists. 

Address:  57,  Shaftesbury  Av.W.  I- 
Film  :  “  Burning  Sand.” 

Director  :  Bert  Wynne. 

Star  :  Doris  Eaton. 

Film  :  Not  announced. 

Director:  Ed.  Jose. 


Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington. 

Film  :  “  Sporting  Subjects.” 

Directors  :  H.  B.  Parkinson,  Ed¬ 
win  J.  Collins  and  George  Wynne 
and  Challis  Sanderson. 

Cameraman  :  Theodore  Thum- 
wood. 

Type  :  One  reelers. 

Stage  :  Two  a  week. 


Film  :  “A  Gamble  with  Hearts.” 
Director  :  H.  B.  Parkinson. 
Stars  :  Valia,  Madge  Stuart, 
Milton  Rosmer. 

Stage  :  Casting. 


Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 

Film  :  “  Rogues  of  the  Turf.” 
Director  :  Wilfred  Noy 
Stage  :  Nearing  Completion. 

Jual.ty  Films. 

Address  :  B.  P.  Studios,  Clapham 
Park. 


(1 Continued  on  page  11.) 


15 


The  Motion  Picture  Studio,  September  2,  1922. 


Registered  at  the  O.P.O. 
as  a  Newspaper 


OXe  MOTlQil 


CATHERINE 

CALVERT 

Solely  represented  by 

FRANK  ZEITLIN, 

3,  Great  Windmill  Street, 
Piccadilly  Circus,  W.  1. 

’PHONE:  REGENT  6696. 


RECENT  PICTURES 
IN  AMERICA: 

“Heart  of  Maryland,” 
“Dead  Men  Tell  No  T  ales, 


1  J 


“That  Woman.” 


At  present  playing  in 

“LAWFUL  LARCENY 
at  the  Savoy  Theatre, 

LONDON. 


ft 


CATHERINE  CALVERT. 


Printed  and  Published  by  ODHAMS  PRESS  Ltd..  Long  Acre,  W.C. 2.— September  2,  1922 


Vol.2  No.66 


Saturday  Sept.  9th.  1922  Twopence 


The  Mot  ion  Picture  Studio  Sep.  9th.  1922 


Registered  at  the  G.  P.  0. 
as  a  newspaper 


MOTIQ® 

PICTUli 


Vfie  INTERNATIONAL  ARTISTS  RIM  COMPANY  LTD. 

7s  FZ.  E-  S  &■  5V  ~7~ 

A  DONALD  CRISP  PRODUCTION  TELLYOURCHILDREN” 

O-e  acuring  DORIS  EATON  an,d  WAITER  TENNVSOMd 


I  ■  ; 

f  f 

I  S  | 

1 

Igi  • 

Wm 

'  'IT: 

gjpjpfew?? 

• 

rm 

■ 

THE  MOTION  PICTURE  STUDIO 


September  9,  1922 


NOEL  GRAHAME 

Heavy  Character  &  Comedy. 
Heavy  lead  :  “  Bladys  oh  the 
Stewponey,”  “Cost  of  a  Kiss,”. 
“  Britain’s  Naval  Secret,”  etc. 
12,  Glebe  Place, 

Chelsea,  S.W.3., 
and  Kineina  Club. 

’Phone:  Regent  2131. 
Phcto  by  N  avail  a 


JAMES  DONATUS 

1912-3.  “  Vee-Dee  Films,”  Marple. 

1922.  Just  completed  “  Paolo,  ”  Gipsy  lead  in 
‘  Gipsy  Blood,  ”  for  Daisy  Productions.  “Robert 
Southey,”  in  “A  Prince  of  Lovers”  (Gautnont). 
“  Surgeon,”  in  Henry  VIII.”  (B  &  C.). 
Alliance,  Stuart-Blackton.  Ideal,  Samuelson,  etc 
And  the  Address  is:  394b,  Uxbridge  Rd.,  W.12. 


THIS  SPACE  TO  LET 
£2  10  0  for  13  insertions 


ROBSON  PAIGE 

Recently  in  Sherlock  Holmes  (Six  Napolions  Episode) 
“Running  Water,”  “Love  and  the  Whirlwind.” 
“The  Gypsy  Cavalier.” 

“  If  Winter  Comes.” 

AT  LIBERTY.  OFFERS  INVITED. 

Beaver  or  othei  wise. 

’Phone:  Streatbam  264. 

Address:  159,  FRANCISCAN  ROAD, 

_ ...  UPPER  TOOTING,  S.W.2. 


ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 

Character  Parts,  “  Mrs.  Gatty,”  in  “Christie 
Johnstone”  (Broadwest),  “  Margaret  Howe” 
in  “  Beside  the  Bonny  Brier  Bush  ”  (Lasky). 

55.  Campden  St.,  Kensington,  W.8. 

Tel.  :  Park  3623. 


HUGH  MILLER 

DISENGAGED. 

Corns.  :  Frank  Zeitlin, 

3,  Great  Windmill  Street,  W.  1. 

’Phone  :  Regent  6696. 


MILTON  ROSMER 

INVITES  IMMEDIATE  OFFERS. 
Forthcoming  Releases — 

“GENERAL  JOHN  REGAN”  (Stoll) 

“  ROMANCE  OF  WASTDALE  ”  ,, 

“PASSIONATE  FRIENDS” 

“WOMAN  OF  NO  IMPORTANCE”  (Ideal) 
16,  WEYMOUTH  STREET,  W.l. 
’Phone:  Langham2243. 


ARTHUR  PUSEY. 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagoon”  for  I.V.T.A. 

All  corns.  :  FRANK  ZEITLIN,  * 

3,  GT.  WINDMILL  STREET,  W.l. 


THIS  SPACE  TO  LET 
17s.  6d.  for  13  insertions 


MARIE  AULT, 

Character  and  Comedy. 

235,  Kings  Road,  Chelsea 


R.  LUCITA  SQUIER, 

Scenarios  and  Originals.  Five  year-:  with  Marshal 
Neilon  Productions  “PENROD.” 

Address:  44,  Great  Russell  Street,  London,  W.C.2, 


ATHALIE  DAVIS 

Juvenile  Leads. 
Comedy  &  Emotional  Parts. 

DISENGAGED. 

Latest  Trade  Show : 

“  Uncle  Dick’s  Darling.” 
Corns.  :  70,  Goldhurst  I  er- 
race,  Hampstead,  N.W.6. 
’Phon<“  Hampstead  866. 


EVELYN 
BRENT 

Latest  Productions, 

“  Demos,”  “  Sonia,” 

“  Laughter  and  Tears,”  etc 
At  present.  Famous  P.-L. 
Bus.  Corns.,  Sidney  Jay, 
181,  Wardour  Street,  W.l 
Regent  4b29. 


GORDON  BEGG 

Dramatic  —  Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.  11, 

Telephone  :  Battersea  21. 


F  C  R  E  M  L  I  N  . 

5  Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club. 


SYDNEY  WOOD, 

Juv.  Leads  in  “The  Warrior 
Strain.”  “Her  Benny,”  “  Ever 
Open  Door,”  “  Bars  of  Iron,” 
“The  Flame,”  “The  Will,” 
“  Double  Event.”  “David  and 
Jonathan,”  etc  Address  ; 
The  Laurels  Beverley  Road, 

ArtPrLv  S  h 

’Phone:  Chancery  7080-7081. 


DAISY  BURRELL 

Just  finished  playing  lead  in 
‘‘Cinderella’’  panto. 

Last  Film  :  Star  part  in 
“  Pride  of  the  Fancy.  ’ 

OPEN  TO  OFFERS. 
39,  Avonmore  Road. 

West  Kensington. 
’Phone  :  Western  675. 


ALEC.  ALEXANDER 

Juvenile  Artiste.  Jnr. 

OFFERS  WANTED. 
All  coins.:  163,  Hackney 
Road,  E  2 

’Phone  :  Dalston  2583. 
or  KINEMA  CLUB, 
Regent  2131. 


LILIAN 

HALL  DAVIS. 

JUVENILE  LEADS. 
Samuelson,  Ideal,  Gra¬ 
ham  Wilcox,  etc.,  etc. 
All  corns.  :  Sidney  Jay, 
181,  Wardour  St.,  W.l. 
Regent  4329 


MARGARET 

HOPE. 

Character  &  J  uvenile  Leads. 

Late  Ideal,  Masters,  Stolls, 
etc.,  etc. 

42,  Blandlord  Square, 
Marylebone,  N.W  .1. 
Phone  :  Padd.  7211. 


SYBIL  JAMES 

Juvenile  and  Character  Parts. 

C/o  MOTION  PICTURE  STUD  IO 


FRED  WRIGHT. 

The  Crazy  Hunchback 
in  the  colour  film 
“The  Glorious  Adventure,” 
Covent  Garden  Theatre. 
THE  COPSE, 

WEST  DRAYTON 
’Phone.-  Yiewsley  82,  or 
Kinema  Club. 


GORDON  HOPK1RK 

Leads-Ideal:  ‘Sybil,’  ‘Ernest 
Malt  1  avers  ’  Direct:  ‘four 
MeninaVan.’  Masiers  :‘Frua 
Diavolo,’  ‘  Br  de  of  Lamraer- 
moor,’  ‘Faust.’  ‘  Maritana,’ 
‘  Jane  Sho  e.  ’  ‘  Stella  ’ : 

P.  &  B  ‘  Settled  in  Full.’ 
B.&C  :  ‘  The  Queen’s  Secret.’ 
Artistic  :  1  Tne  Skipper’s 

V'ooing  ’  Addr,  ss  : 

(  hooi  flou-e,  Tower  Street, 
W.C  2  or  Ki  ema  Club. 


ENA  BEAUMONT. 


GEORGE  KEENE 

Star  Lead.  Disengaged. 
Featuring—'1  Black  Sheep,” 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters 
“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 

Adclt  ess  : 

121b,  Church  St.,  Croydon 
’Phone  :  Croydon  835. 


THELMA 


MURRAY 

Character  &  Emotional  parts 
Just  finished  work  in  “Crea¬ 
tion”  for  Raleigh  King  Films, 
now  playing  lead  for  Masters. 
All  corns:  “LYN''ALE.” 
OAKLEY  RD. 
WHYTELEAFE,  SURREY, 
or  to  the  Kinema  Club 


5,  POND  PLACE. 
CHELSEA 
S.W. 3. 


MARY  ODETTE 


Just  concluded  : 

“The  Fa'thful  Heart”  and 
“Windows  “ 
(Comedy  Theatre) 
Latest  Rele  ses  : 

“Wonderful  Year,’ 

“All  Roads  Lead  to  Calvary.” 
All  corns.  :  Sidney  Jay, 

181,  Wardour  Street. 
Resent  4329. 


Leads  in  “The  Greater  Love,” 
“  The  Golden  Web  .”  “  All  the 
Winners,”  “  Patricia  Brent, 
Spinster,”  “  Our  Girls  and 
Their  Physique  ”  ‘  Settled  in 
Full,”  “  Watching  Eyes,”  etc. 
21,  Breakspears  Road. 

Broekley  S.E  4 
'Phone:  New  Cross  622. 


Leads  only. 


9,  ALBANY 

COURTYARD, 

PICCADILLY, 

Phone  :  Regent  5394 


WARREN 

HASTINGS 


ROSINA 
WRIGHT, 

Famous-Lasky,  Stoll,  Lon¬ 
don.  Samuelson,  Davidson, 
Ideal,  Broadwest,  etc. 

7  years  Film  Experience. 
8a,  GOLDERS  WAY, 

,  GOLDERS  GREEN,  N. W.l. 
'  |  |  or  Kinema  Club. 


ERIC 

LEIGHTON 


2 


September  g,  1Q22 


THE  MOTION  PICTURE  STUDIO 


CAMERAMEN.  .  .  . 

JoTTn  J.  cox 

“Four  Feathers,1’  “'Broken  Road,” 

“  Romance  ol  Wastdale,”  etc. 

LATEST : 

Dick  Turpin  ”  for  Stoll  P.cture  Productions,  Ltd., 

44,  BARROWGATE  ROAD,  CHISWICK.  W.4. 
“Phone — Chiswick  294. 

ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN  — 

:  SCIENTIFIC  OUTFIT.  : 
Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  Street,  W.C.2. 

’Phone — Regent  2131. 

L.  G.  E  G  R  O  T 

EXPERT  CAMERAMAN. 

“The  Better  ’Ole,”  etc.,  etc., . 

. “  The  Wonderful  Story.  ’ 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W.2. 

’Phone  :  Streatham  3085. 

COS  T  U  MIER  .  ... 

Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W* 

’Phone;  Gerrard  612. 


JOHN  SALTER.  Estd.  1896. 

Cameras — Projectoi  s—  Repairs, 

13,  Featherstone  Buildings,  Holborn,  W.C. 
Phone;  7408  Chancery. 

SCENARISTS  .  .  .  . 


GERALD  DE  BEAUREPAIRE, 

Editing.  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 

G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M'LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.l, 

’Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  2131. 


To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
- SUPPLIED - 

From  your  own  Photo,  in  best  glossy  style  : — 
One  position  17/6  per  gross. 

Two  positions  30/-  ,, 

Apply — 

PICTURES,  LTD.,  88,  Long  Acre,  W.C. 2. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 

NOW  BACK  IN  LONDON. 


WHO’S  WHERE. 


Several  directors  have  explained  to  us 
tUe  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 


“  'T’HE  most  useful  column,  to  my  mind, 
and  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  is  ‘Who’s 
Where.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.  ’  ’ — 
CHALLIS  N.  SANDERSON. 

“  T  PERSONALLY  would  like  to  see 
A  more  artistes  using  vour  space  under 
the  heading  of  ‘  Who’s  Where.’  ”  — 

H.  B.  PARKINSON. 

“  'T’HE  column  which  is  of  most  service 
to  us,  and  which,  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  ’’  — 
NORMAN  WALKER  (Capt.),  Alliance  Films, 


ATWOOD,  ALBAN :  25,  Stanley  Crescent 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.  11.  Battersea  21. 

BROOK,  CLIVE:  “The  Cosy  Corner” 
Houseboat,  oppadte  Hampton  Court 
Palace,  East  Molesey. 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

CAREW,  JAMES,  15  Burleigh  Mansion, 
Charing  Cross  Road,  W.C. 2.  Gerrard  3904 

CHESNEY,  ELIZABETH  :  54,  Beaumont 
Street,  W.  1 .  Mayfair  4992. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
Redcliffe  Gardens,  SAV.  10.  ’Phone: 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.i  1.  Park  2077. 

ESMOND,  ANNIE :  43,  Richmond  Road, 
Westboume  Grove,  W.2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

FANE,  DOROTHY :  12A,  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 

GRACE,  ADELAIDE,  103,  Morshead  Man¬ 
sions,  Maida  Vale,  W.9. 

GREGORY,  FRANK,  Character ,  107,  St. 
Alban’s  Avenue,  W.4. 

HALLIDAY,  LENA,  14,  Fernwood  Avenue, 
Streatham,  S.W. 

HASTINGS,  WARREN,  5,  Pond  Place 
Chelsea,  S.W. 3.  Western  7160. 

HOWARD,  LIONELLE:  108,  Alderbrook 
Road,  Balham,  S.W. 12. 

KAYE,  FREDA,  care  of  The  Kinema  Club 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977. 

NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 


PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell.  S.E.5. 

RAYNER,  MINNIE  :  Kingwater  Cottage, 
Churc  1  Walk,  Thames  Ditton. 

ROME,  STEWART  :  10,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  all  corns.  Kinema  Club, 
Regent  2131 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  62,  Upper 
Richmond  Road,  East  Putney,  S.W.  15, 
or  Kinema  Club. 

STEERMAN  A.  HARDING  :  56  Portland 
Road,  W.i  1.  Park  2529. 

STERROLL,  GERTRUDE:  14.  Queens 
Road.  St.  John’s  Wood,  N.W.8. 

TEMPLETON,  BEATRIX:  20.  Foxgl  ve 
Street,  Wormholt  Estate,  W.  12. 

TREE,  MADGE:  15,  Lancaster  Court,  New. 
man  St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Road. 
Barnes,  S.W.  13.  Putney  1945. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 
2131. 

WALCOTT,  ARTHUR  :  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  2131. 

Two  lines,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a  year,  prepaid. 

Extra  lines,  is.  per  insertion. 


LEICHNERS 

WORLD 
RENOWNED 


GREASE 
PAINTS 

&  POWDERS 


3 


THE  MOTION  PICTURE  STUDIO 


September  q,  1922 


ADELINE  HAYDEN  COFFIN 


“NANNIE”  IN  “TELL  YOUR  CHILDREN.” 

Also  played  in  previous  Donald  Crisp'Productirn 
“  Bonny  Brier  Bush,”  and  all  leading  British 
Film  Cos.  At  present  playing  Anna  (the  Mother) 
in  A.  E.  Coleby’s  Stoll  Production  “  The  Prodigal 
Son”  (Sir  Hall  Caine). 

55,  CAMPDEN  ST.,  KENSINGTON,  W.8. 

’Phone  :  Park  3623. 


WARWICK  WARD 

Telephone  :  Paddington  2409. 


LATEST  PRODUCTIONS  : 

“  Tell  Your  Children,” 

International  Artists , 

‘  Bulldog  Drummond,” 

Hollandia. 

“  Desert  Sands,” 

International  Artists. 

11  Petticoat  Loose,” 

Stoll 


“A  Pauper  Millionaire 

(Ideal) 

“Pages  of  Life”  .A 

(Adelqui  Millar)  Atn 

Jy 

A  2  years 
filming  in 

U.S.A. 

Corns  : 

FRANK  ZEITLIN, 
3,  Gt.  Windmill  St. 
C7  Piccadilly  Circus,  W.l 

^  i  y  'Phone  :  Re&ent  6696. 

X 

Photo  by  Ernest  Mills,  *'At  Home  Studio, ”  185,  Piccadilly,  W  .1 


A 


September  9,  1922 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93.  Long  Acre, 
London,  W.C.2, 


Vol.  2  No.  66 


(OCUJ> 


Telegrams — 
Southernwood, 
Rand,  London 
Telephone — 
Gerrard  9870. 


Sept.  9,  1922 


Authors  want  Organisation. 
pLSEWHERE  in  this  issue  an  appeal 
is  made  for  scenarists  and  photo¬ 
playwrights  to  organise  in  order  to  protect 
their  interests.  And  now  we  have  Camp¬ 
bell  Rae-Brown — the  author  of  “  Kissing 
Cup’s  Race  ’’—adding  his  voice.  He  sug¬ 
gests  a  League  of  Film  Authors.  “  The 
time  is  coming,”  he  writes,  “  when  we 
shall  revolt.  I  once  had  an  extremely 
popular  story  of  mine  filmed  without  my 
knowledge  until  I  saw  it  advertised  among 
the  attractions  of  our  local  picture  house. 
It  was  produced  by  one  of  the  leading 
firms  in  the  business.  But  the  version  of 
my  story  as  set  forth  on  this  occasion  was 
the  most  preposterously  inane  libel  on  my 
work  that  I  went  for  it  tooth  and  nail, 
and  killed  it  in  its  imbecile  infancy.”  Mr. 
Rae-Brown  favours  closer  co-operation 
between  author,  scenarist  and  director. 
And,  in  theory,  he  is  right.  At  the  same 
time  there  is  an  obvious  need  of  some  kind 
of  organisation  that  could  safeguard  the 
rights  and  privileges  of  film  writers  ;  we 

should  welcome  views  on  this  subject. 

*  *  * 

Tie-up  with  Canada. 

YY/HEN  we  plead  for  the  improvement 
of  conditions  for  British  films,  it 
must  not  be  supposed  that  the  possibility 
of  British  films  in  other  countries  is 
being  overlooked.  For  this  reason  we 
particularly  welcome  the  invitation  from 
the  Canadian  Cinema  Arts  Society  which 
appears  on  another  page.  This  Society 
includes  among  its  Objects — the  aid  and 
encouragement  of  the  distribution  of 
British  pictures  in  Canada  and  to  co¬ 
operate  with  other  Canadian  Organisa¬ 
tions  for  this  object.  This  is  excellent. 
And  we  sincerely  trust  that  the  various 
film  organisations  in  this  country,  including 
the  Kinema  Club,  the  Directors’  Associa¬ 
tion,  and  the  Cameramen’s  Society,  will 
get  in  touch  with  the  Canadian  Society  in 
order  that  the  “  lines  of  communication 
may  be  adequately  established.  For  it 
must  not  be  forgotten  that,  even  more  so 
than  Great  Britain,  Canada  is  flooded  with 
American  films.  In  fact,  America  is 
taking  great  pains  to  Americanise  the 
Dominion  in  a  way  that  is  distinctly 
sinister.  Occasionally  a  British  film  gets 
into  Canada,  when  it  obtains  a  riotous 
welcome — “  Alf’s  Button  is  a  case  in 
point.  This  fact  and  the  “  Object  ”  of  the 
Canadian  Cinema  Arts  Society  is  proof 
positive  that  the  Canadians  are  really  keen 
to  get  British  pictures  on  their  screens  :  a 
fact  which  British  firms  should  take  full 
advantage  of. 


Too  Many  Cooks. 

“  CLUB,  Clatter  ”  this  week  is  neces¬ 
sarily  attenuated :  there  is  very 
little  movement  at  No.  9,  Great  Newport 
Street.  Not  that  we  are  unduly  surprised 
at  this  ;  for  there  is  a  tendency  to  dissipate 
energy  in  wrong  directions.  When  we 
formed  the  Club,  we  had  in  mind  a  certain 
fundamental  policy  which  we  were  con¬ 
vinced,  by  our  knowledge  of  this  intricate 
trade  and  our  study  of  other  such  organisa¬ 
tions  in  this  country  and  abroad,  was  the 
only  right  system  for  such  a  Club.  In 


If  Prosperity  may  make 
millionaires,  but  it’s  ad¬ 
versity  that  makes  men. 

Adverse  circumstances 
serve  to  bring  the  facts 
of  life  into  true  perspec¬ 
tive  and  insti  utes  a 
system  of  mental  and 
moral  education  which 
alone  can  turn  personal 
attributes  into  sterling 
character. 

^  In  the  Battle  of  Life  and 
in  the  Conflict  of  Rugged 
Realities  the  man  whose 
character  has  been  tried 
by  the  fires  of  adversity 
is  bound  to  win. 


principle  this  was  the  co-ordination  of  all 
effort  in  order  to  ensure  coherence — con¬ 
centrated  endeavour  in  order  to  avoid  over¬ 
lapping.  For  that  reason  the  Constitution 
that  we  instituted  in  January  was  :  a  series 
of  Sub-Committees  whose  recommenda¬ 
tions  should  be  put  into  operation  by  the 
Executive  Committee.  Thus  the  work  of 
the  various  Sub-Committees  would  be  co¬ 
ordinated  and  regulated  so  that  it  would 
contribute  to  the  general  good.  But  the 
events  of  the  past  few  weeks  suggest  that 
this  sound  policy  has  been  overturned,  with 
the  result  that  it  is  quite  conceivable  for  a 
chaotic  condition  of  affairs  to  arise  in  the 
administration  of  the  Club.  As  things 
now  stand,  the  Executive  Council  ceases 
to  be  the  executive  body  of  the  Club  ;  its 
unique  place  being  taken  by  the  subsidiary 


Committees.  So  that  suddenly  members 
are  pounced  on  by  the  manager  or  the  staff 
for  breaches  of  house-rules  which  have 
be  en  passed  by — shall  we  say  ? — the  Cards 
Committee.  Or  the  House  Committee’s 
instructions  clash  with  those  of  the  Enter¬ 
tainments  Committee.  Or  the  Picture 
Committee  is  able  to  spend  money  for  the 
same  purposes  that  the  Finance  Com¬ 
mittee  is  doing  ditto.  Meanwhile — and 
this  is  the  great  joke — the  Executive 
Council  is  doing  nothing  but  talking  ;  not 
because  it  could  not  administrate  and 
legislate,  but  because  the  various  sub¬ 
sidiary  Committees  have  done  more  than 
enough  legislating  and  administrating, 
counter-legislating  and  administrating, 
cross-legislating  and  administrating,  to 
last  the  Club  throughout  eternity.  Prin¬ 
ciples  that  we  persuaded  the  old  Executive 
Committee  to  adopt  as  fundamental  are 
being  scrapped  ;  and  vital  decisions  that 
were  made  in  the  best  interests  of  the  Club 
have  been  inverted.  This  present  multi¬ 
plicity  of  “  executives  ”  is  as  bewildering 
as  it  is  farcical.  Our  knowledge  and 
experience  in  forming  other  similar  organi¬ 
sations  is  sufficient  to  indicate  to  us  that 
nothing  but  chaos  can  result  from  the 
method  (or  absence  of  method)  and  system 
(or  lack  of  system)  obtaining  now  at  the 
Kinema  Club,  where  there  are  so  many 
Committees  that  soon  there  will  not  be 

enough  members  to  go  round. 

*  *  * 

A  Lesson  from  Germany. 

AS  we  have  repeatedly  said  before, 
there  is  strong  grounds  for  regarding 
Germany  as  an  earnest  aspirant  to  the 
chief  place  in  the  film  sun.  Adrian 
Brunei,  Miles  Mander,  and  others  who  have 
returned  from  tours  in  Germany  are 
unanimous  in  support  of  this  opinion. 
And  now  we  learn  that  the  Association  of 
German  Film  Producers  and  of  Picture 
Theatres  has  appointed  a  Committee  to 
draft  a  scheme  for  a  central  organisation 
of  the  whole  film  industry.  This  is  preg¬ 
nant  with  meaning.  It  is  eloquent  of  the 
seriousness  with  which  the  Germans  are 
taking  their  work,  and  speaks  volumes  as 
to  the  future  of  the  film  industry  in  that 
country.  For  its  effect  will  be  to  con¬ 
solidate  all  the  various  film  activities,  and 
so  present  a  united  front  to  the  American 
and  British  film  factors.  All  that  we  can 
do  is  piously  to  hope  that  the  various 
sections  of  the  British  film  industry  will 
be  wise  enough  to  close  their  ranks  and 
concentrate  all  their  forces  on  beating  both 
the  Germans  and  the  Americans  at  the 
film  game. 


5 


THE  MOTION  PICTURE  STUDIO 


September  9,  1922 


a 


WHAT’S  WRONG  ? 


SOME  OF 
THE  COGS 


Hugh  Miller  gives  the  Actors’ View  of  the  New  Game. 


Writing  in  Drawing  on  some  of  the  posi¬ 
tions  in  a  studio,  Frank  Keyes,  Ideal’s  title 
artiste  says : 


WHAT  does  Adrian  Brunei’s  article  in  the  Motion  Picture  Studio  for  August  26 
do  ?  It  shows  us  a  director  pointing  out  a  real  shortcoming,  in  fact,  the  sh  ort- 
coming  of  English  photo  drama — lack  of  imagination.  At  first  the  primary  consecra¬ 
tion  of  the  film-boss  was  money.  He  had  no  aesthetic  conscience  to  plague  him. 
Any  old  stuff  did  for  the  public  which  quickly  found  an  appetite  for  his  wares,  then 
original.  These  wares  he  has  kept  on  doling  out  for  years.  Now,  however,  Yhe  same 
man  knows  that  he  has  to  employ  something  more  than  business  opportunism  and 
technical  ingenuity  in  order  to  sell  his  goods.  Competition  has  had  certain  inevitable 
effects,  and  the  standard  of  the  public’s  intelligence  has  been  correspondingly  raised. 

In  the  beginning  there  was  Darkness ;  and  the  Boss  said ,  “  Let  there  be  Light.” 
And  the  Director  saw  the  Light  that  it  was  good ,  but  he  did  not  see  the  Drama 
that  it  was  Awful. 

NOW  the  big  truth  in  Adrian  Brunei’s  article  is  that  our  business  is  an  art  first, 
and  a  business  afterwards.  Till  the  powers  that  be  get  this  fact  into  their 
heads  there  is  little  hope  of  improvement.  To  my  mind,  the  majority  of  screen 
dramas  produced  in  England  to-day  fails,  and  fails  almost  utterly,  from  lack  of 
imaginative  treatment.  The  block-booking  evil  is  far  removed  from,  though  it  may 
be  contributive  to,  the  trouble.  Mr.  Brunei  has  said  that  the  wrong  people  have 
control  ;  which  is  true.  Also  that  we  must  have  “  men  of  culture  and  intellectual 
power  ”  in  place  of  the  men  in  the  business  to-day.  Certainly,  we  must.  But  culture 
and  intellect  alone  are  not  enough. 

At  a  picture  show  it  isn’t  so  much  the  lack  of  culture  and  intellect  that  worries. 
It’s  the  almost  entire  lack  of  imagination. 

NOT  one  screen  character  in  five  hundred  is  a  reality.  Why  ?  Because  they  are 
not  imaginatively  conceived.  Episodes  in  their  lives  are  portrayed  with 
absolute  realism,  in  appallingly  accurate  settings,  but  they  fail  to  convince.  Stories 
are  unfolded,  and  by  mechanical  effects,  by  rapid  alternation  of  scenes,  by  numerous 
apertural  devices  for  rounding  off  episodes.  By  the  use  of  the  whole  bag  of  tricks 
one  is  jerked,  jostled  and  lured  into  a  sort  of  hysterical  interest  in  the  destiny  of  a 
pseudo  human.  It  is  the  point  of  view  that  must  be  changed  if  we  are  to  progress.  Mr. 
Brunei  says,  “  Art  pays  in  the  kinema,”  and  what  the  film  business  man  should 
realise  is  that  his  staff  must  not  consist  only  of  people  full  of  book-learning,  or  of 
originality,  or  of  remarkable  technical  knowledge.  Production,  to  be  good,  must 
bear  the  impress  of  imagination. 

Work  which  has  behind  it  and  within  it  imaginative  pressure  has  an  unm  is 
takable  character ,  and  an  unquestionable  market  value. 

A  MODERN  classic  of  dramatic  criticism  contains  an  essay  called  “  On  Crossing 
down  Right.”  Would  that  some  critic  could  be  brought  to  write  an  article 
for  the  studio  entitled  “  Now  to  cover  all  that  with  close-ups  ”  !  1  have  seen  a 
series  of  interior  scenes,  played  in  Sweden,  in  which  the  length  of  all  the  shots  was 
practically  constant,  and  which  seemed  to  have  a  definite  relation  to  the  dimensions 
of  the  setting  of  a  tragic  episode.  One  saw  the  owner  of  a  little  house — an  old  man — 
die  behind  a  table  littered  with  instruments  with  which  he  had  worked  for  years. 
These  personal,  pathetic  things  were  not  taken  from  view  for  the  sake  of  “  coming  in  ”  ; 
they  remained  from  beginning  to  end,  and  one  felt  as  if  before  one’s  eyes,  the  pockets 
of  someone  just  dead,  were  being  emptied  of  their  poignant  contents. 

There  is  true  wonder  in  such  scenes,  and  the  revelation  of  some  sort  of  beauty — 
stark,  quiet  and  simple — and  all  that  because  of  imagination. 


I  SHOULD  like  to  see  the  first  real  pioneer  of  British  screen  art  employ  an  artist,  and 
give  him  a  blue  pencil,  and  his  best  scenario.  Brevity  is  to  wit  what  elimination 
is  to  character-drawing.  For  fictitious  characters  do  not  live  when  they  live  and 
move  as  we  live.  They  must  be  at  once  greater  and  less  than  life — greater  in  order 
that  their  human  appeal  may  enlist  our  sympathies,  and  less  in  order  that  we,  seeing 
them,  may  credit  them  with  the  missing  characteristics,  and  so  contribute  imagina¬ 
tively  to  the  creation  of  reality.  To-day  British  screen  drama  does  not  provide 
either  the  reality  of  life  or  the  dramatic  reality  of  the  stage.  It  is  only  now  that 
lone  voices  like  Mr.  Brunei’s  are  crying  for  recognition  of  the  film  as  an  art.  Heretofore 
it  has  had  no  legitimate  claim  to  such  pretensions.  Screen  drama  has  been  produced 
by  persons  regarding  it  solely  as  a  money-making  industry.  It  has  been  made  to 
appeal  to  the  largest  number  of  an  undiscriminating  public. 

J ust  as  the  strength  of  a  chain  is  that  of  its  weakest  link,  so  is  the  standard  of 
appeal  of  the  commerce-bound  kinema  framed  for  the  understanding  of  the 
lowest  mentality. 


The  Art  Director  holds  a  most  important 
and  responsible  position  in  a  producing  con¬ 
cern.  He  is  responsible  for  the  designing  of 
interior  and  exterior  studio  “sets,”  i.e., 
scenes  built  and  arranged  for  “shooting  " 
in  the  studio,  and  their  accessories.  He 
must  have  a  knowledge  of  foreign  and  period 
costumes  and  furniture,  architecture,  and 
the  photographic  tone-value  of  anything  that 
is  likely  to  be  introduced  into  the  action 
of  the  play. 

Under  his  direction  is  the  staff  of  Scenic 
Artists’  who,  together  with  the  “floor  man¬ 
ager  ”  and  his  staff  of  craftesmen,  give 
material  form  to  the  creations  of  the  Art 
Director. 

The  work  of  the  Scenic  Artist  is  not  con¬ 
fined  to  the  painting  of  back-cloths — he 
must  also  be  able  to  model  in  plaster  and 
to  execute  generally  with  a  severe  time-limit 
an  old  master  for  the  baronial  mansion, 
portraits  of  the  hero  and  his  relatives, 
statues  and  armour  (in  papier-mache)  and 
“stick-and-rag  ”  work  of  all  sorts  for  archi¬ 
tectural  purposes.  He  grains  the  woodwork 
and  marbles  the  three-ply  pillars — and  all 
with  such  consummate  cunning  and  a  know¬ 
ledge  of  photography  that  they  pass  on  the 
screen  for  the  genuine  article. 

Title  Writers  and  Artists  letter  and  illus¬ 
trate  the  titles  and  make  the  “  inserts 
anything  from  a  cheque  on  the  Bank  of 
Bunkum  to  a  lingerie  press  advertisement 
or  a  coat-of-arms  on  the  ducal  notepaper- 
nnt  forgetting  the  mortgage  on  the  old  home¬ 
stead  and  the  hero’s  visiting-card. 

The  Stills  department,  which  produces  the 
publicity  photographs  of  scenes  from  the 
films,  always  lias  a  good  deal  of  retouching 
to  do;  there  may  be  seen  the  wonders  of 
“knifing”  and  “spotting.” 

Mention  must  be  made  of  what  is  quite 
an  Industry  in  itself,  namely,  the  making 
of  animated  cartoons.  Though  there  are 
comparatively  few  of  these  being  made  at 
present,  they  invariably  meet  with  an  en¬ 
thusiastic  reception  from  the  picture-goer; 
the  animation  of  the  cartoonist’s  droll 
characters,  as  a  provoker  of  merriment,  is 
simply  irresistible ! 

No  more  than  a  passing  reference  can  be 
made  to  the  animator  and  his  assistants. 
The  animator,  working  from  a  script  some¬ 
what  similar  to  but  not  so  elaborate  as  the 
studio  scenario,  designs  the  characters  and 
settings,  and  is  assisted  by  tracers,  who 
make  the  intermediate  drawings  of  the 
“phases  ”  of  the  movements  required.  This 
work  calls  for  a  thorough  knowledge  of 
animal  locomotion  and  a  great  deal  of 
ingenuity,  besides  an  amount  of  patience 
tli at  would  put  Job  himself  to  shame. 


(Continued  from  Page  15  ) 

be  grumblers  in  heaven,  and  you  will  know 
them  by  their  unsociability  and  obvious  dis¬ 
taste  for  work.  The  camp  is  grateful  for 
their  disapproval,  and  says  a  magnificat 
when  they  take  train  for  London.  The  rest 
of  us,  though  we  may  think  lather  wistfully 
at  times  of  Piccadilly  Circus,  find  life  well 
worth  living  with  concerts  and  dances,  mock 
trials,  gramophones  and  ghost  stories. 

We  are  sorry  for  people  who  try  to  be 
sorry  for  us,  that’s  all.— Caroline  A. 
Lejeune. 


6 


September  9,  1922 


fHE  MOTION  PICTURE  STUDIO 


Intimate  Studio  Qossip 


Little  did  I  dream  of  the  results  of 
my  action  when,  at  the  Club  Carni- 
val,  I  introduced  a  journalistic  col¬ 
league  from  this  building  to  Mercy 
Hatton.  The  results  of  the  chance 
introduction  is  that  Mercy  Hatton  is 
now  Mrs.  Russell  Mallinson.  They 
kept  the  event  very  quiet  but  not  so- 
quiet  as  they  thought.  And  they  were 
wise  in  so  doing,  for  Mercy’s  popu¬ 
larity  plus  the  crowd  of  journalists  and 
R.A.F.  Club  members  who  would 
have  crowded:  round  to'  congratulate 
“  Mallie  ”  would  have  caused  an  ob¬ 
struction  to  the  traffic  in  the  neigh¬ 
bourhood.  On  behalf  of  all  their  very 
numerous  friends  I  congratulate  the 
happy  pair. 

By  every  post  I  am  receiving  letters 
from  members  of  the:  Welsh- 
Pearson  camp  at  Blair  Atholl  telling 
me  of  the  fine:  time  the  artistes  are 
having  in  the  Romany  camp  there. 
Malcolm  Tod  writes  to*  say  that  they 
are  having  a  great  time  and  though 
the  weather  lias  been  none  too  favour¬ 
able  it  is  improving.  The  other  night 
they  showed  the  “The  Sailor  Tramp  ” 
to  the  villagers,  and  had  to'  give  a 
concert  at  half-time  to  allow  the: 
resistances  of  the  projection  room  to 
cool  down,  the  voltage  being  too- great. 
The  W.-P.  folk  had  a  gramophone 
playing  at  night  and  danced'  by  the 
light  of  a  camp  fire  with  the.  dark 
purple  mountains  as  a  background. 
And  Tod  finished  his  letter  abruptly 
because  he  had  to'  toddle  off  to  the 
village  to  do  his  share  of  the  shopping 
— for  all  ’he  artistes,  cook  house  and 
twleve  families  of  gypsies  ! 

The  scenario  of  “Tell  Your  Children,” 
the:  Donald  ^Crisp  production  made 
for  International  Artists,  calls  for 
several  scenes  in  New'  York.  At  first, 
Mr.  Crispi  thought  of  building  a  set 
In  London  which  would  reproduce  a 
Manhattan  vista ;  but  he  decided 
against  this,  and  with  his  star,  Walter 
Tennyson,  sailed  for  New  York  to' 
■“  get  the!  real  stuff.”  Doris  Eaton 
does  not  appear  in  these  scenes. 
Several  scenes  on  Brooklyn  Bridge, 
with  the  sky-line  of  New  York  build¬ 
ings,  were  made,  and  a  beautiful  effect 
was  obtained  with  the  Wool  worth, 
Singer,  Municipal  Buildings,  etc., 
softly  silhouetted  against  the  back¬ 
ground.  Other  striking  effects  were 
obtained  from  Governor’s  Island  in 


New  York  Bay,  with  Battery  Park  and 
the.  nest  of  skyscrapers  in  the  back¬ 
ground.  Only  one  week  was  neces¬ 
sary  for  the  making  of  these  scenes  ; 
and  three  weeks  from  the  time  Mr. 
Crisp'  and  Mr.  Tennyson  left  London 
they  were  back.  Realism  was  given  a 
test  when  Donald  Crisp  started  tomiake 
the  set  for  an  Egyptian  dance  hall.  A 
dance  hail  in  Cairo-  was  reproduced 
exactly,  and  the  effect  is  strikingly 
realistic.  Hew  cosmopolitan  a  city 
London  is  was  shown  when  Mr.  Crisp 
planned  these  Egyptian  scenes.  He 


BOOST  BRITAIN 

See  Next  Week's  Issue . 


thought  it  would  be  necessary  to  have 
actors  and  dancers  make  up  as 
Egyptians,  but  he  had  no  difficulty  in 
finding  a  number  of  Egyptians  residing 
in  London  who  filled  these  parts 
admirably. 

Met  Sid  Jay  in  the  Club  this  week 
and  he  tells  me  that  he  has  secured 
Tom  Moore,  the  famous  American 
star,  to  play  for  Ideal.  Tom  Moore 
arrives  at  Southampton  on  Monday. 

A  well  known  director  is  in  the  market 
for  film  stories,  and  asks  me  to 
forward  on  to  him  any  that  my  readers 
may  desire  to  offer.  He  is  looking 
for  strong  dramatic  stories  with  plenty 
of  action  in  them.  Scenarios  should 
be  addressed  to  me  at  this  office. 

Jn  order  to  avoid  anv  misunderstand¬ 
ing  we  are  asked  toi  announce  that 
Donald  Crisp  is  still  on  the:  directorial 
staff  of  International  Artists  and  that 
it  is  not  he  but  Edward  Jose  who  is 
directing  “God’s  Prodigal”  for  that 
company.  This  is  not  being  made  at 
the  F.P.-Lasky  Studio  as  was 
generally  understood  to  be  the  case:. 

Although  it  was  to  play  on  the  legiti¬ 
mate  stage  that  Catherine  Calvert 
came  to  England  there  is  not  the 
slightest  doubt  that  before  many 
weeks  pass  she  will  be  playing  in 
British  film  productions.  She  has 
already  received  several  offers,  but 
intends  to  have  three  or  four  weeks 
with  just  her  engagement  at  the 
Savoy  before  starting  film  work.  In 


America  she  featured  in  “The  Career 
of  Catherine  Bush  ”  and  “  Fires  of 
Faith  ”  (F.P.-Lasky),  “Out  of  the 
Night,”  “Marriage  of  ConveniencgA- 
“Marriage  ”  and  “  Romance  of  the 
Underworld  ”  (own  company),  “  Dead 
Men  Tell  No  Tales”  and  “Heart  of 
Maryland”  (Vitagraph),  and  “That 
Woman,”  which  she  had  not  com¬ 
pleted  when  she  commenced  rehearsing 
“  Lawful  .Larceny  ”  two  weeks  prior 
to  sailing. 

Qne  of  the  latest  companies  to  start 
making  comedies  has  had  a  very 
bad  inception.  This  comedy  was,  an¬ 
nounced  several  weeks  ago  and  the 
full  cast  engaged.  The  artistes  hung 
about  for  two  or  three  weeks,  and  then 
learned  that  some  new  people  had 
taken  over  the  project.  These  new¬ 
comers  interviewed  the  artistes  and 
reduced  all  the  salaries,  some  by  as 
much  as  30  per  cent.  Then  it  was 
decided  to  commence  work.  The: 
artistes  were  taken  to  the  seaside  for 
some  scenes,  they  were  paid  half  their 
salaries  and  put  in  a.  very  heavy  week’s 
work.  When  they  got  back  to 
London  they  were  promised  the  rest  of 
their  money,  but  after  the  artistes  had 
made  repeated  applications  foe  this 
they  were  given  post-dated  cheques  ! 
This  is  exactly  the  way  that  organisa¬ 
tions  find  themselves  “On  Our  Black 
List.” 

Luring  the  past  few  days  I  have 
received  a  letter  from  D.  R. 
Overall- Hats  well,  who  is  now  in 
Hollywood.  He  has  been  busy  with 
Goldwyn  on  “The  Christian  ” — it  will 
be  remembered1  that  Maurice  Tourneur 
took  him  on  tot  America,  with  the  com¬ 
pany  after  they  worked  here  in  London. 
Mr.  Overall- Hatswell  has  now  finished 
with  Goldwyn  and  has  signed  a  con¬ 
tract  with  Metro  to  play  Alasie  in 
“Peg  o’  My  Heart”  with  Laurette 
Taylor.  I’m  very  pleased  indeed  to 
bear  that  he’s  doing  so  well,  and  con¬ 
gratulate  him  on  his  success.  To  play 
a  part  like  that  in  a  popular  story  will 
do  much  to  make  him  well  known 
among  both  the  American  and  the 
J  British  public. 


7 


THE  MOTION  PICTURE  STUDIO 


September  9,  1922 


In  the  new  Donald  Crisp  production  which  is  now  completed  and  bids  fair  to  create  a  furore,  a  very  strong  and  yet 
romantic  feature  film  is  offered  with  Doris  Eaton — the  famous  American  musical  comedy  star — at  the  head  of  a 
very  fine  cast.  We  reproduce  a  few  scenes  from  the  film  :  (1)  Doris  Eaton  in  one  of  the  dainty  rustic  moments  of 


September  9,  1922 


THE  MOTION  PICTURE  STUDIO 


d-DONflLD-CRISP-  PRODUCTION 

TELLYOUR-CHILDREN" 


^^on's  °f  screen — -Walter  Tennyson,  who  plays  opposite  Miss  Eaton  with  great  charm  and 

abiUty/  <3>  A  dramatic  moment  in  an  Eastern  cafe,-  <4>  Walter  Tennyson,  Mrs.  Hayden  Coffin,  Mary  Rorke  and 
Hons  Eaton,-  <5>  A.  Harding  Steerman,  Doris  Eaton,  Cecil  Morton  York,  and  Walter  Tennyson,-  <6>  Gertrude 

McCoy  and  Mary  Rorke. 


9 


THE  MOTION  PICTURE  STUDIO 


September  9,  1922 


CVCe 

INTERNATIONAL 
ARTISTS  FILM  r 
COMPANY,  L™  , 

•  jSresenl  •  ■ 

A  BIG  PICTURE  WITH  I 


A  selection  of  scenes  from  the  Best-Quality  Production  that  International  Artists  Films  is  offering:  (1)  Walter  Tennyson 
and  Walter  Tennyson,-  <5>  A.  Hardin?  Steerman  and  Doris  Eaton,-  <7>  The  tragedy  is  discove  cd ,-  <8A  Doris  Eaton,  Gertrude 
IQ  <11>  Tony  Frazer,  Walter  '! 


September  9,  1922 


THE  MOTION  PICTURE  STUDIO 


r 

Mary  Rorke,-  <2>  Warwick  Ward  and  Doris  Eaton  <3>  Walter  Tennyson 
Coy  and  Adeline  Hayden-Coffm,- R9>  Walter  Tennyson  and  Warwick  Ward 
nysoa  and  Warwick  Ward. 


and  Adeline  Hayden  Coffin  ,■  <4  and  6>  Doris  Eaton 
;  <10>  Walter  Tennyson,  the  British  Screen  Adonis,- 


11 


the  motion  picture  studio 


September  o,  1922 


tAxU/  -cifut,  cured  — - 

- -eoAeCt  tfiaq  exAe.  -doorvq 


Thomas  Bentley  has  started  work  on 
“Green  Sea  Island,”  for  Ideal. 

Ernest  A.  Douglas  is  to  play  for  British 
Supers  in  “The  Right  to  Strike.” 

f 

Florence  Ingram  is  playing  in  “Gipsy 
Blood,”  for  Daisy  Productions. 

Flora  Le  Breton  is  playing  lead  for  Ideal 
in  “Green  Sea  Island.” 

John  Stuart  has  been  playing  juvenile 
lead  in  “The  Extra  Knot,”  for  Masters. 

Clive  Brook  is  playing  lead  in  “Green  sea 
Island,”  for  Ideal. 

Walter  Blakeley  photographed  “Shifting 
Sand,  ”  for  Granville  Productions. 


Rosina  Wright  has  been  playing  for 
British  Supers  in  “  Castles  in  the  Air,” 
and  also  with  Stoll  in  “The  Prodigal  Son.” 

Kathleen  Grey  has  been  engaged  to  play 
for  Sinclair  Hill  in  his  new  Stoll  pro¬ 
duction,  “Petticoat  Loose.” 

Marthe  Preval  has  been  playing  for  Welsh 
Pearson  in  “Squibs  Wins  the  Calcutta 
Sweep,  ”  and  is  now  playing  for  Granville 
productions. 

Hetta  Bartlett  is  playing  Lady  Bill  in 
“Other  People’s  Worries,”  at  the  Richmond 
Theatre,  next  week. 

Gordon  Begg  is  going  on  location  in  “The 
Harbour  Lights,”  Tom  Terriss’  new  Ideal 
production. 

Ralph  Wells  was  responsible  for  the  story 
of  “Shifting  Sand,”  the  new  Granville  Pro¬ 
duction. 

Maitt  and  Myers  booked  the  following 
artistes  for  Masters  in  “A  Gamble  With 
Hearts.”  Madge  Stuart,  Valia,  Cecil 
Morton  York,  Olaf  Hytten,  Stacey  Gaunt, 
Laura  Edwyn,  Harry  Newman,  George 
Bishop,  Pat  Fitzgerald,  Hargreaves  Mansell, 
Bernard  Vaughan,  Margaret  Hope,  and 
Charles  Norton. 


George  Ridgwell  has  completed  “Nell 
Gwynne  ”  for  B.  and  C. 

Tom  Moore  is  to  play  in  a  forthcoming 
Ideal  film. 

Frank  Grainger  is  to  photograph.  “Dial- 
stone  Lane  ”  for  Artistic. 

Olaf  Hytten  is  to  play  for  Master  Films 
in  “A  Gamble  With  Hearts.” 

Hargreaves  Mansell  is  playing  in  “A 
Gamble  With  Hearts,”  for  Masters. 

E.  C.  Silly  is  on  location  in  Scotland  with 
Welsh  Pearson  in  “The  Romany.” 


George  A.  Cooper  is  directing  the  fourth 
of  the  Cunninghame’s  series  at  B.P.  Studios 
for  Quality. 

H.  B.  Parkinson  started  directing  “A 
Gamble  With  Hearts,”  for  Masters,  on 
Monday  last. 

Malcolm  Tod  is  up  in  Scotland  playing 
second  lead  to  Victor  McLaglen  in  “The 
Romany,”  for  Welsh  Pearson. 

Ambrose  Manning  is  playing  in  “Squibs 
Wins  the  Calcutta  Sweep,”  for  Welsh  Pear¬ 
son. 

Henry  Edwards  is  to  direct  a  sequel  to 
“The  City  of  Beautiful  Nonsense,”  for  Hep- 
worth. 

Ian  Beverley,  who  has  for  a  number  of 
years  been  assistant  director  to  Maurice 
Elvev,  has  now  joined  International  Artists 
as  Edward  Jose’s  assistant. 

Cecil  Morton  York,  having  completed  his 
part  in  “A  Sister  to  Assist  ’er, ”  is  now 
engaged  to  play  for  Masters  in  “A  Gamble 
With  Hearts.” 

Laura  Edwyn  has  been  engaged  through 
Maitt  and  Myers  to  play  in  “A  Gamble 
With  Hearts.  ” 


Michael  R.  Gordon  has  been  playing  for 
Masters  in  “A  Race  for  a  Bride.” 

Amy  Willard  has  been  engaged  to  play 
for  Granville  Productions. 

Sydney  Seaward  has  been,  playing  for 
Stoll  in  “A  Debt  of  Honour.” 

Stacey  Gaunt  has  been  booked  to  play  for 
Masters  in  “A  Gamble  With  Hearts.” 

Frank  Gregory  is  just  back  from  Holland 
where  he  has  been  playing  in  a  new  film. 

Warwick  Ward  lias  completed  his  part  in 
“  Desert  Sand,  ”  for  International  Artists. 

Donald  Searle  has  been  playing  for  Qvwility 
Films  in  “The  Cunninghame’s  Economise.” 

Walter  Tennyson  has  been  appearing  with 
International  Artists  in  “Desert  Sands.” 

Ray  Raymond  has  been  playing  for  Quality 
Films  in  “The  Cunninghame’s  Economise.” 

Ralph  Forster  has  been  playing  for  Stoll 
as  the  Bishop  in  “The  Prodigal  Son.” 

Doris  Eaton  has  been  playing  in  the  new 
International  Artists  filnq  “Desert  Sand.” 

Cecil  Leigh  is  playing  in  the  International 
Artists  film  “Desert  Sand.” 

Sydney  Folker  has  completed  his  part  for 
Quality  in  “The  Cunninghame’s  Economise.” 

Edward  Jose  is  to  direct  “God’s  Prodigal,” 
for  International  Artists. 

Isobel  Elsorn  was  engaged  to  play  for 
Ideal  in  “The  Harbour  Lights,”  through 
Jay’s  Agency. 

Pat  Fitzgerald  was  engaged  to  plav  for 
Master  Films  in  “A  Gamble  With  Hearts,” 
through  Maitt  and  Myers. 

Rex  Davis  has  been  booked  bv  Jay’s 
Agency  to  play  in  “The  Lion’s  Mouse,” 
the  new  Granger-Binger  film. 

Harry  Newman  has  been  engaged  by  Maitt 
and  Myers  to  play  for  Masters'Ll  “A  Gamble 
With  Hearts.” 

Bernard  Vaughan  was  engaged  by  Maitt 
and  Myers  for  Masters  new  production  “A 
Gamble  With  Hearts.” 

Rert  Wynne  has  now  completed  “Desert 
Sands,”  from  the  story  bv  Esther  White- 
house,  for  International  Artists. 

Charles  Norton  has  been  engaged  by  Maitt 
and  Myers  for  Masters  “A  Gamble  With 
Hearts.” 

W.  D.  C.  Knox  has  been  appearing  in  the 
new  Quality  Film  “  The  Cunninghame’s 
Economise.  ” 

Denison  Clift  is  to  direct  “This  Freedom,” 
lor  Ideal,  and  is  at  present  working  on  the 
scenario. 

George  Bishop  has  been  playing  for 
Masters  in  “The  Making  of  Gordon,”  and 
will  appear  in  the  company’s  new  produc¬ 
tion,  “A  Gamble  With  Hearts.” 

Catherine  Calvert  will  shortly  commence 
work  in  an  English  film.  She  is  at  present 
playing  in  “Lawful  Larcenv,  ”  at  the  Savoy. 
She  is  represented  in  England  by  Zeitlin’s 
Agency. 


Margaret  Hope  has  been  engaged  to  play 
for  Masters  in  “A  Gamble  With  Hearts.” 


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Jftarims  for  ^renarists 

by  WALTER  SUMMERS 

ongruity,  Continuity  and  Clarity. 

A  scenario  should  be  no  longer  than  the  story. 
Every  scene  should  be  worth  watching. 
Action  speaks  louder  than  sub-titles. 

The  ideal  title  is  a  literary  cameo. 

Draw  an  interest-chart  of  each  story  and 
keep  your  hand  on  its  pulse. 

A  successful  scenario  is  a  photo-play 
produced  on  paper. 

Suspense  is  the  mother  of  situations. 

Do  not  pad  a  thin  story  ;  give  it  nourishmen  t. 


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12 


Septe  mber  9,  1922 


THE  MOTION  PICTURE  STUDIO 


ALL  THE 


BRITISH  FILMS 


TALENTS 

rpwO  years  ago,  no  one  had  heard  of  the 
International  Artists  Film  Company, 
Ltd.  It  was  merely  an  idea  in  the  mind  ot 
a  young  man — Alan  S.  Butler,  who  after 
the  war  visited  America  and  became  deeply 
interested  in  films.  Then  he  spoke  to  "a 
friend,  another  young  man,  in  whom  he 
discovered  a  similar  interest.  Walter  Ten¬ 
nyson  had  been  watching  films  with  much 
thought  since  his  youth;  he,  too,  had  gone 
to  America  and  studied  film  production  in 
that  country. 

Mr.  Butler,  being  possessed  of  means,  de¬ 
termined  to  found  such  a  company  as  he 
had  in  mind.  Soon  after  the  International 
Artists  Film  Company  was  organised,  and 
Mr.  Tennyson  became  associated  with  his 
friend.  Here  was  an  ideal  combination — 
two  young  men,  well  educated,  intelligent, 
widely-travelled,  enthusiastic,  with  a  keen 
interest  in  films  and  the  one  big  idea  of 
advancing  British  productions  and  securing 
for  them  a  world  market. 

It  was  not  easy  to  start  such  an  organisa¬ 
tion  directly  on  a  successful  basis.  The  pro¬ 
cedure  at  first  was  difficult  for  the  young 
enthusiasts.  But  their  sincerity  of  pur¬ 
pose,  their  intelligence  and  their  broad 
outlook  was  certain  to  win.  And  so  it  has. 
The  International  Artists  Film  Co.,  Ltd., 
seems  destined  to  become — and  very  soon — 
a  big  force  in  the  British  film  Industry. 
Indeed,  that  fact  seems  to  have  already  im¬ 
pressed  itself  upon  the  world  centres  o* 
film  distribution. 

Mr.  Butler  carefully  set  about  developing 
an  organisation  of  strength  that  would 
carry  out  his  ideas  and  those  of  his  asso¬ 
ciate,  Mr.  Tennyson.  Martin  Sabine,  a 
theatrical  man  of  long  and  important  ex¬ 
perience  in  both  England  and  America, 
with  a  wide  knowledge  of  both  films  and 
the  stage  and  showmanship  generally,  was 
appointed  general  manager  of  the  company; 
and  C.  Egerton  Leigh,  a  business  man  with 
a  special  interest  in  films,  was  made  secre¬ 
tary  of  the  company.  These  four  men  set 
for  themselves  the  task  of  doing  big  things 
in  film  production.  Their  definite  aim 
was  to  open  the  world  market  for  British 
films. 

Donald  Crisp,  an  English  actor  and  direr- 
tor,  who  had  done  much  big  work  in 
America  as  well  as  in  England,  was  en¬ 
gaged  and  started  on  his  first  International 
production,  “Tell  Your  Children”;  then 
Edward  Jose,  a  director  who  went  to 
America  years  ago  and  attained  a  large 
rejiutation,  was  contracted,  and  is  now 
ready  to  begin  work,  while  Bert  Wynne  lias 
just  completed  another  production  for  In¬ 
ternational. 

Then  arrangements  were  made  with  .1. 

( Continued  on  next  page.)  . 


the  services  of  Donald  Crisp  and  Edward 
Jose,  both  of  whom  have  had  wide  experi¬ 
ence  on  the  other  side.  There  are  some  who 
have  questioned  our  policy  of  affiliating 
ourselves  with  Americans.  This  would  be 
nairow,  even  if  true.  Mr.  Crisp  and  Mr. 
Blackton  are  both  of  British  nationality. 
Mr.'  Jose  is,  I  believe,  also  a  European. 

“I  believe  we  can  safely  say  that  -  we 
have  half-turned  the  key  into  the  door  lead¬ 
ing  into  the  American  market.  Our  idea  is 
to  make  British  productions  the  productions 
of  the  world.  In  order  to  do  this  we  have 
got  to  have  the  Press  absolutely  with  us. 
The  great  obstacle  up  to  the  present  time 
has  been  the  lack  of  sufficient  capital. 
Financial  men  have  not  become  sufficiently 
interested  in  the  film  Industry.  We  must 
convince  them  that  there  is  a  big  profit  to 
be  made  in  films,  and  many  other  im¬ 
portant-values.  The  Press  can  instil- this 
thought  into  the  minds  of  the  financial  men 
of  the  country.  You  men  of  the  Press  have 
a  big  responsibility. in  this  way. 

“I  feel  this  subject  very  deeply,' and  be¬ 
lieve  that  with  hard  work,  clear  thinking, 
and  with  the  support  of  the  Press,  British 
films  will  take  their  place  among  the  best 
in  the  world  market 


FOR  THE  WORLD 


Martin  Sabine. 


Alan  S.  Butler 


Donald  Crisp. 


Excerpts  from  a  talk  made  by  Mr. 
Martin  Sabine,  General  Manager  of 
the  International  Artists  Film  Com¬ 
pany,  Ltd.,  at  the  Press  luncheon 
tollowing  the  showing  of  the  J. 
Stuart  Blackton  film,  “A  Gipsy 
Cavalier.” 

“FT^HE  goal  and  ambition  of  the  Inter- 
national  Artists  Film  Company,  Ltd., 
is  to  produce  and  handle  only  such  pictures 
as  Colonel  Bromhead  says  are  necessary  for 
the  British  National  Film  League.  And 
why  should  not  such  pictures  be  made  in 
England?  We  believe  in  the  future  "of 
British  production.  We  believe  that  - the 
entire  world  is  waiting  for  British  pictures. 
But  they  must  be  good  pictures.  British  films 
must  be  able  to  hold  their  own  in  compe¬ 
tition  with  the  productions  of  other 
countries. 

“We,  frankly,  want  to  get  into  the  Ameri¬ 
can  market,  the  largest  outlet  for  films  in 
the  world.  Every  British  director  has’  that 
ambition.  Do  not  take  seriously  any  state¬ 
ment  that  there  is  any  ban  on  or  prejudice 
against  British  films  in  America.’  There -is 
no  such  thing.  There  is  no  country  in  the 
world  that  is  more  interested  in  entertain¬ 
ment  of  an  international  character.  I  have 
lived  and  worked  in  America  for  many 
years,  and  I  understand  the  Americans  and 
their  noints  of  view,  their  tastes,  etc.  All 
we  have  to  do  is  to  make  good  pictures, 
and  we  can  be  certain  of  the  American 

market.  Quite  a  number  of  British  pictures 
have  already  been  shown  in  America. 

“Here  in  England  to-day  we  have  at  liana 
the'  talent,  the  facilities,  the  scenery  and 
the  material  for  the  production  of  pictures 
as  good  as  any  in  the  world.  We  have 

intelligence,  traditions  and  artistic  tem¬ 
perament;  we  have  the  splendid  record  ol 
our  theatres  since  the  days  of  Shakespeare. 

“The  last  year  has  seen  a  wonderful  pro¬ 
gress  in  our  production,  from  the  technical, 
artistic,  literary  and  other  considerations. 
The  latest  British  nictures  are  more  than 
100  per  cent,  advanced  on  former  ones, 

and  this  is  as  it  should  be.  We  shall  go 

on  and  on.  making  better  pictures  as  one 
month  of  effort  follows  another.  Then  we 
shall  have  the  whole  world  for  our 
stamping  ground.  There  is  no  reason 
why  the  entire  world’s  market  should 
not  be  open  to  us.  It  is  only  a 
matter  of  time  before  British  pictures  will 
be  showing  in  every  picture  theatre  in  the 
world 

“With  such  a  constructive  object  m 
view,  the  International  Artists  Film  Com¬ 
pany,  Ltd.,  have  to  consider  what  is  the 


most  efficacious  way  of  making  our  way 
into  that  world  market.  To  get  into  the 
picture  market  of  America  and  other  coun¬ 
tries.  we  must  employ  men  who  have  esta¬ 
blished  their  positions  in  the  selling  mar¬ 
ket  of  the  world,  and  have  them  produce 
our  pictures.  That  is  why  we  have  obtained 


Walter  Tennyson. 


THE  MOTION  PICTURE  STUDIO 


September  9,  1922 


“  TELL 
YOUR 
CHILDREN” 


EDWARD  JOSE. 

Directing  ‘‘  God’s  Prodigal  "  for  International 
Artists. 

N  important  film  production  made  by 
Donald  Crisp  for  the  International 
Artists’  Film  Company,  Ltd.,  is  announced 
for  a  Trade  show  at  the  New  Gallery 
Kinema  on  September  14,  under  the  title 
of  “Tell  Your  Children.”  This  film  is  of 
outstanding  interest,  not  only  because  of 
its  merit  and  entertainment  value,  but  also 
for  the  reason  that  it  marks  the  introduc¬ 
tion  of  a  large  new  organisation  with  an 
ambitious  and  constructive  program  in  the 
British  film  production  field. 

The  International  Artists’  Film  Com¬ 
pany,  Ltd.,  of  which  Alan  S.  Butler  is 
president,  and  Martin  Sabine,  general 
manager,  has  been  building  plans  for  some 
time,  looking  to  the  development  of  a  pro¬ 
ducing  company  whose  output  will  have 
international  appeal,  and  be  a  credit  to 
British  film  production  the  world  over. 

This  Donald  Crisp  production  has  a 
vital  theme,  which  everyone  interested  in 
human  welfare  and  betterment  will  recog¬ 
nise  of  great  interest  and  significance. 
This  lesson,  while  thopgnt-provoking  and 
appealing  in  a  broad  way,  is  the  basis  of  a 
story  of  great  human  interest  and  enter¬ 
tainment  value,  with  those  touches  of 
humour  and  human  sympathy  which  Mr. 
Crisp  always  applies  to  his  productions. 
The  picture  is  elaborately  produced,  and 
the  lesson  is  subtly  introduced  as  a  part  of 
a  human  drama,  the  chief  purpose  of 
which  is  to  entertain. 

“Tell  Your  Children,”  in  brief,  em¬ 
phasises  the  importance  of  educating  young 
people  on  the  facts  of  life,  and  points  out 
the  dangers  of  ignorance  on  such  subjects 
to  the  young. 

Doris  Eaton,  the  widely  known  and 
admired  beauty  of  the  “  Ziegfeld  Follies,” 
New  York,  makes  her  English  debut  in 

Tell  Your  Children.”  Not  only  is  Miss 
Eaton  known  for  her  appearances  in  the 
famous  New  York  theatrical  “institu¬ 
tion,”  but  she  has  gained  as  much  fame 


Entertainment  and 
Enlightenment  combined. 

through  posing  for  many  artists.  Iler  face 
is  said  by  these  painters  to  be  an  ideal  one 
for  pictorial  purposes.  Miss  Eaton  is  one 
of  two  noted  sisters  of  the  “Ziegfeld 
Follies,”  the  other  being  Mary  Eaton, 
who  is  also  a  celebrated  beauty. 

Not  the  least  interesting  part  of  the  In¬ 
ternational  Artists’  Donald  Crisp  produc¬ 
tion,  “Tell  Your  Children,”  is  the  debut 
on  the  screen  of  Walter  Tennyson,  a 
young  actor  of  strikingly  handsome  ap¬ 
pearance  and  exceptional  ability  as  a  film 
player,  who  has  the  part  of  hero  in  this 
picture.  Mr.  Tennyson,  who  is  of  the 
family  tnat  gave  England  a  great  poet,  is 
called  by  his  fellow-artistes  the  “Adonis 
of  the  British  Screen.”  He  is  young,  and 
a  successful  future  is  predicted  for  him. 

“Tell  Your  Children”  is  a  fortunate 
film  in  having  a  cast  of  exceptionally 
talented  interpreters  of  the  interesting  and 
humanly  appealing  characters  around 
whom  the  story  is  woven.  Among  these 


CECIL  EGEKTO.M  LEIGH 

(Secretary  of  International  Artists  Films. 


may  be  mentioned,  in  addition  to  Doris 
Eaton  and  Walter  Tennyson,  Margaret 
Halstan,  Mary  Rorke,  Gertrude  McCov, 
Hayden  Coffin,  Robert  English,  Cecil 
Morton  York  and  Warwick  Ward. 

Donald  Crisp,  the  director  of  “Tell,  Your 
Children,”  is  an  Englishman,  who,  as 
actor  and  stage-producer  and  film  director, 
has  had  an  interesting  and  important 
career.  He  staged  many  of  the  noted  stage 
productions  for  the  late  Charles  Frohman, 

(Continued  at  foot  of  next  column.) 


THE  LEAGUE 
AT  WORK 

LREADY  the  British  National  Film 
League  has  shown  ten  items  in  its  first 
year’s  program  to  the  Trade  ;  these  are  being 
rented  to  the  exhibitors,  and  bookings  are 
very  satisfactory.  These  first  ten  are  as 
follow,  the  renters  being  in  brackets:  — 

(1)  “When  Greek  Meets  Greek.” — Walter 
West  (Butcher). 

(2)  “A  Bachelor’s  Baby.” — Davidson 
(Granger). 

(3)  “A  Prince  of  Lovers.” — British  Screen- 
craft  (Gaumont). 

(4)  “Wee  McGreegor’s  Sweetheart.” — - 

Welsh-Pearson  (Jury). 

(5)  “A  Sporting  Double.”  —  Davidson 
(Granger). 

(6)  “The  Lilac  Sunbonnet.  —  Progress 
(Butcher). 

(7)  “A  Sailor  Tramp.” — Welsh-Pearson 

(Jury). 

(8)  “A  Soul’s  Awakening.”  —  Gaumont 
(Gaumont). 

(9)  “Son  of  Kissing  Cup.” — Walter  West 
(Butcher). 

(10)  “A  Gipsy  Cavalier.” — Stuart  Black- 
ton  (Gaumont). 

These  are  to  be  followed  by  five  others, 
the  Trade  shows  of  which  have  been  fixed 
to  be  held  in  the  mornings  at  the  New 
Gallery  Kinema,  with  the  exception  of  “Rob 
Roy,”  which  will  be  shown  at  the  Marble 
Arch  Pavilion.  The  numerals  after  the 
names  of  the  films  are  the  dates  of  the 
Trade  shows  in  September. 

(11)  “Fires  of  Innocence.”— 7. — Progress 
(Butcher). 

(12)  “Tell  Your  Children.” — 14. — Donald 
Crisp  (Gaumont). 

(13)  “The  Sporting  Instinct.” — 21. — David¬ 
son  (Granger). 

(14)  “Squibs  Wins  the  Calcutta  Sweep.” 
—28. — Welsh-Pearson  (Jury). 

(15)  “Rob  Roy.”— 29. — Gaumont  (Gaumcnt) 


(Continued  from  page  13.) 

Stuart  Blackton  whereby  the  film,  “A  Gipsv 
Cavalier,”  featuring  Georges  Carpentier  and 
an  important  British  cast,  would  be  pre¬ 
sented  by  the  International  Artists  Film 
Company.  It  is  probable  that  further  pro¬ 
ductions  by  Mr.  Blackton  will  be  brought 
out  under  the  auspices  of  the  International 
Company. 

The  future  plans  of  this  organisation  can¬ 
not  now  be  definitely  announced;  but  the 
beginning  is  sufficient  to  justify  the  predic¬ 
tion  that  much  good  work  will  be  done, 
and  the  achievements  of  Mr.  Butler  and  his 
associates,  under  the  active  management  of 
Mr.  Sabine,  will  do  much  to  promote  British 
film  production.  Altogether  the  program  is 
a  broad  and  ambitious  one,  and  the  public 
may  well  look  with  hope  and  interest  to  the 
future  of  this  young  company. 


and  for  Cohen  and  Harris  in  New  York. 
Fourteen  years  ago,  he  joined  the  Bio¬ 
graph  Film  Company  in  New  York,  where 
both  he  and  D.  W.  Griffith  were  actors, 
later  both  of  them  becoming  film  directors. 
Mr.  Crisp  assisted  Mr.  Griffith  in  making 
“The  Birth  of  a  Nation,”  and  other  pro¬ 
ductions.  In  1914  he  made  “Romona,” 
a  large  independent  production,  and 
after  that  joined  the  producing 
staff  of  the  Famous  Players  -  Laskv 
Corporation,  for  which  he  came  to  Eng¬ 
land,  where  he  has  continued  to  direct. 
“The  Bonnie  Brier  Bush”  and  “The 
Princess  of  New  York,”  two  British  pro¬ 
ductions  made  by  Mr.  Crisp,  have  been 
very  popular  in  England  and  America. 


14 


September  9,  1922 


THE  MOTION  PICTURE  STUDIO 


OUR  PARLIAMENT 

Readers  discuss  various  matters  and  air  various  grievances 

NOTE —This  is  the  new  form  that  “Letters  to  the  Editor"  will  take.  Readers  are  invited  to  comment 

on  the  contributions. 


Medals  for 
Megaphone  Men 

Mr.  Speaker,— In  a  recent  issue  of  the 
Motion  Picture  Studio  was  published  an 
article  on  the  star  system,  and  I  think  it 
correct  in  saying  that  this  star  system  is 
sound  at  the  moment,  'but  for  the  benefit 
of  the  Industry  I  should  like  to  see  a  gold 
medal  established  for  the  best  production 
of  the  year.  The  medal  should  be  pre¬ 
sented  to  the  director  whose  film  is  con¬ 
sidered  to  be  the  most  perfect  of  the  year  in 
acting,  photography,  lighting  and  story.  The 
film  could  be  called  “The  Gold  Medal  Pro¬ 
duction,’’  and  we  should  be  able  to  see  what 
progress  the  Industry  was  making. — Arthur 
Young. 

British  for 
the  British 

Mr.  Speaker, — I  am  an  interested  reader 
of  the  Motion  Picture  Studio,  and  look 
forward  to  its  arrival  each  week,  and  in 
my  peregrinations  \across  the  country  the 
Motion  Picture  Studio  looks  like  a  much 
vised  passport  by  the  time  it  reaches  me ! 

I  have  taken  the  liberty  of  using  a  lot 
of  the  news  that  appears  in  the  columns  of 
the  Motion  Picture  Studio,  reprinting  it 
in  our  own  little  publication,  “The  Close- 
Up,”  which  has  only  a  modest  circulation 
as  yet,  but  rapidly  increasing  in  favour 
among  those  engaged  in  the  Industry,  and 
gives  promise  of  bigger  things  in  the  near 
future. 

The  inspiring  editorials  in  the  Motion 
Picture  Studio  regarding  production  in 
the  Mother  Country  have  filled  the  writer 
with  a  great  longing  to  do  what  little  he 
can  to  help  combat  the  foreign  invasion. 
We  in  Can;ada  are  “fed  up”  with  the 
American  production,  but  what  can  we  do? 
The  British  pictures  are  so  few  and  far 
between  that  our  people  here  are  almost 
led  to  believe  that  the  Industry  in  England 
is  dead. 

Can  we  not  do  something  to  bring  more 
British  pictures  to  this  country? 

Can  we  not  bring  together  the  men  en¬ 
gaged  in  the  photographing  and  produc¬ 
tion  of  kinema  pictures  in  England  and 
Canada? 

If  the  Editor  can  help  us,  we  shall  ap¬ 
preciate  it. 

Every  member  of  this  society  is  back  of 
my  statement,  that  we  are  ready  and  anxious 
to  do  all  we  can  to  further  the  interests  of 
the  British  production  in  Canada. 

May  we  hear  from  you  very  soon,  and 
any  suggestion  you  care  to  put  forward  we 
shall  be  glad  to  consider. — W.  'H.  Bird, 
Secretary-Treasurer,  Canadian  Cinema  Arts 
Society. 

Blatant 

Brain-picking 

Mr.  Speaker, — Can  any  scenarist  beat 
this?  Apropos  of  the’  article  “Brain- 
Pickers,”  appearing  under  the  new  series 
“On  Our  Black  List”  in  the  Motion  Pic¬ 
ture  Studio,  I  am  writing  to  tell  you  of 
an  experience  I  had  with  one  of  these  un¬ 
scrupulous  “brain-pickers.” 

In  the  spring  of  1914  I  was  engaged  as 
leading  man  and  scenarist  by  a  certain  com¬ 
pany.  The  director  was  a  very  clever  little 


man,  and  in  my  opinion  one  who  should 
have  risen  to  the  top  rung  of  the  ladder  in 
the  production  world,  if  he  had  not,  like 
many  more  clever  men,  indulged  in  the 
pernicious  habit  of  “pinching,”  or,  in  other 
works,  sucking  other  people’s  brains. 

I  had  arranged  with  T.  R.  Nugent  (father 
of  Doris  Keane’s  husband,  Basil  Sydney, 
the  latter  whom,  I  may  mention,  was  my 
school-chum  at  St.  Osyth  College,  Clacton- 
on-Sea),  for  the  adaptation  and  filming  of 
his  play,  “The  Little  Earl.”  Having  got 
through  the  final  arrangements,  in  due 
Course  the  scenario  was  handed  to  the 
director.  My  work  was  accepted,  and  there 
the  matter  ended  as  far  as  my  pen  was  con¬ 
cerned. 

In  course  of  production  was  another  pic¬ 
ture,  a  drama  of  a  sensational  kind,  which 
was  dependent  for  its  success  upon  stunts, 
which  fell  to  the  lot  of  the  juvenile  leading 
man.  It  was  not  this  director’s  custom  to 
hand  to  his  leading  people  the  script  for 
them  to  study  prior  to  their  appearing  on 
the  floor  ;  the  reason  will  he  obvious. 

You  may  well  imagine  my  surprise  when 
the  sensational  stunt  was  read  over  to  me 
at  rehearsal,  and  transpired  to  be  none  other 
than  the  psychological  point  of  the  very 
play  that  I  had  just  adapted  for  this  same 
director ! 

Words  cannot  describe  what  I  felt,  but 
in  spite  of  the  consequences  that  might  en¬ 
sue,  I  flatly  refused  to  be  a  party  to  a  scheme 
that  was  nothing  else  but  brain-picking. 
Had  not  that  play  been  the  property  of  a 
friend  of  mine,  how  easily  that  author  would 
have  been  a  victim. 

In  my  fifteen  years’  of  experience,  this 
was  the  most  barefaced  effrontery  I  have 
ever  come  in  contact  with.  I  could  recall 
many  other  incidents,  but  I  must  not  oc¬ 
cupy  any  more  of  the  valuable  time  of  the 
House.  /Still,  I  might  mention  that  this, 
director  came  to  a  most  ignominious  end,  in 
fact,  he  died  by  his  own  hand.  Respect  for 
the  dead  prevents  me  from  being  more  ex¬ 
plicit. 

In  conclusion,  I  should  be  pleased  to 
know  of  any  other  struggling  playwrights 
and  scenarists  who  have  come  up  against 
such  questionable  people  of  the  kinema 
world  as  I  have  described,  and  who  would 
be  good  enough  to  inform  me,  and  their 
contemporaries,  who  they  are.  I  have  a 
black  list  myself,  with  many  clean  pages 
to  be  filled  in,  and  I  might  spill  a  little  ink 
on  them  to  a  useful  purpose.  Wishing  that 
bright  little  paper,  the  Motion  Picture 
Studio,  continued  success. — George  Keene. 

An  Appeal 
to  Directors 

Mr.  Speaker, — Do  directors  feel  it  is  quite 
“playing  the  game  ”  to  leave  the  selection  of 
and  casting  for  the  smaller  parts  entirely  in 
the  agents’  hands?  It  happens  constantly  that 
the  agent  suggests,  even’  if  he  does  not  state 
specifically,  that  the  said  part  is  only  crowd 
work,  and  offers  crowd-work  pay  of  one 
guinea  per  day.  He  disclaims  all  knowledge 
of  the  scene,  cannot  say  even  if  it  is  for 
studio  or  location,  possibly  does  not  know 
the  name  of  the  film.  All  he  admits  is  that 
a  certain  director  wants  a  certain  type  for  a 
certain  day. 

The  artiste  needing  work  accepts  and  finds 
at  the  studio  that  what  was  suggested  to 
him  as  crowd  work  proves  to  be  a.  definite 


part,  and  he  naturally  feels  he  has  been 
exploited. 

Can  a  director  reasonably  expect  the  best 
work  from  an  artiste  in  this  frame  of  mind? 

The  artiste,  if  he  is  conscientious,  does 
his  best,  but  if  he  is  an  artiste,  and  there¬ 
fore  temperamental,  cannot  shake  off  this 
feeling  of  being  wronged  and  this  must 
affect  his  acting,  and  the  suspicion  will 
creep  in  that  there  is  a  “fifty-fifty”  arrange¬ 
ment  somewhere  which  robs  him  of  his 
adequate  and  proper  pay  for  a  part. 

The  film  sells  well,  but  the  poor,  cheated 
artiste  does  not  share  in  the  profits  that 
result.  (It  is  better  to  use  quite  plain  lan¬ 
guage.) 

All  artistes  know  this  method  obtains ; 
being  unorganised  they  cannot  protest  for 
fear  of  the  black  mark  of  future  exclusion 
from  that  studio. 

I  venture  to  put  it  quite  plainly  to  direc¬ 
tors  :  Is  this  quite  fair? 

Eor  the  most  pari  they  are  decent,  straight¬ 
forward.  honourable  men.  who  wish  to  do 
the  right  thing 

Will  they  put  this  on  the  agenda  of  the 
next  meeting  of  the  British  Association  of 
Film  Directors,  and  try  to  find  a  remedy? 
Although  one  of  them  courageously  said, 
“  We  are  the  enemy,”  we  screen  artistes  feel 
that  even  an  enemy  may  be  just  if  not 
generous.  They  too  are  the  victims  of  the 
system,  but  not  to  the  same  extent  that 
struggling,  starving  artistes  are. 

On  behalf  of  my  fellow  screen  artistes  I 
venture  to  appeal  to  them  for  aid  in  this 
matter. — Ess  Jee. 

Thanks  for 
Compliment 

Mr.  Speaker, — The  reviewer  of  the  Motion 
Picture  Studio  has  paid  me  the  compli¬ 
ment  of  crediting  me  with  writing  the 
scenario  of  “A  Gipsy  Cavalier.”  That 
credit  should  go  to  Andrew  Soutar.  I  feel 
like  the  American  negro  who  was  asked  by 
a  white  man  if  he  could  change  a  $5 
bill,  and  smilingly  replied:  “Ain’t  got  it, 
boss,  but  I  thank  you  for  de  compliment.” 
— Felix  Orman. 

Lion  among 
the  Lambs 

Mr.  Speaker, — As  a  lay  Press  critic,  I 
know  I  should  feel  iike  a  fish  out  of  water 
in  the  column^  of  the  Motion  Picture 
Studio,  though  as  a  member  of  the  Kinema 
Club  I  should  be  among  friends.  But  it’s 
a  funny  world,  and  the  funniest  thing  in  it 
is  the  speed  with  which  fish  can  adjust  their 
respiratory  organs  and  live  and  enjoy  them¬ 
selves  in  quite  the  wrong  surroundings.  Here 
is  a  case  in  point.  My  newspaper  office 
sent  me  up  to  the  Welsh  Pearson  camp  at 
Blair  Atholl  for  a  first-hand  report  of  loca¬ 
tion  work.  I  came  for  a  few  days  :  I  have 
stayed  a  fortnight.  I  came  as  a  business 
woman  with  an  eye  to  the  shekels  ;  I  have 
been  adopted  into  the  family.  I  could  not 
have  asked  greater  courtesy  and  consider¬ 
ation,  nor,  remembering  the  limitations  of 
camp,  more  creature  comforts. 

Yes.  I  know  what  cynics  will  say.  But 
journalists  are  no  fools,  and  have  as  keen 
an  eye  for  an  interested  motive  as  any  man. 
The  comfort  here  has  been  the  result  of 
excellent  organisation,  generous  give  and 
take,  and  an  amazing  esprit  de  corps.  There 
have  been  grumblers,  of  course — there  will 
( Continued  on  page  6). 


15 


THE  MOTION  PICTURE  STUDIO 


September  9,  1922 


TRADE  SHOW  GUIDE 


Where  and  When 

T>ARON  Films,  Ltd.,  will  Trade  show  its 
J  first  production  this  week,- which  is  nn 
adaptation  of  the  famous  Fred  Emney 
sketch, 

Ci  A  Sister  to  Assist  ’Er.” 

Mary  Brough  has  Ihe  leading  role  .as  Mrs. 
Way,  and  is  supported  by  John  McAndrews, 
Pollie  Emery,  J.  E.  Barber,  Cecil  Morten 
York,  'Muriel  Aked,  Mrs.  Fred  Emney  and 
Billie  Baron. 

George  Dewhurst  is  responsible  for  the 
direction,  and  G.  Pauli  the  photography. 
Trade  show  tickets  can  be  obi. lined  from 


I  am  very  glad  to  put  on  record 
the  fact  that  the  Artistes'  Cards 
published  by  you  in  the 
y  MOTION  PICTURE  STUDIO' 
are  undoubtedly  of  service. 
Whilst,  of  course,  all  agents  keep 
a  large  register,  it  must  happen  at 
times  that  we  are  stuck  for  an  ad¬ 
dress  or  a  suggestion,  and  when  I 
have  found  myself  in  that  pre¬ 
dicament  I  invariably  refer  to  your 
paper,  and  on  more  than  one 
occasion  have  been  helped  out  of 
the  difficulty.  Only  last  week  I 
brought  an  artiste's  name  before 
a  director  for  a  part,  but  unfortu¬ 
nately  had  not  got  a  photograph 
to  submit,  but  I  found  it  amongst 
your  advertisements,  with  the  re. 
suit  that  that  artiste  secured  the 
part. — L.  B.  LESTOCQ  (Screen 
and  Stage  Booking  Offices). 


Baron  Films,  Ltd.,  9,  St.  'Martin’s  Lane, 
W.C.2. 

Trade  Show:  Monday,  September  n,  at 
the  Shaftesbury  Pavilion,  at  11.15  a.m. 

ATHESON  LANG  returns  to  the  screen 
as  Dick  Turpin  in  Maurice  Elvey’s 
Stoll  production, 

“Dick  Turpin’s  Ridf.  to  Yo,rk.” 
Isobel  Elsom,  as  Esther  Bevis,  Cecil  Hum¬ 
phreys,  as  Litton  Glover,  Norman  Page,  as 
Ferret  Bevis,  Lewis  Gilbert,  as  Tom  King, 
Malcolm  Tod,  .as  Sir  Charles  Westen,  Lily 
Iris,  Mddle.  d’Esstrre,  Somers  Bellamy, 
Tony  Fraser  and  James  English  comprise 
the  supporting  cast 

The  scenario  is  by  Leslie  Gordon,  and  the 
photography  by  Jack  Cox. 

Trade  Show:  Tuesday,  September  12,  at 
the  Alhambra  Theatre,  at  n  a.m. 

\  BRITISH  production  which  was  made 
■Cv.  some  time  ago  is  now  ready  for  Trade 
showing. 

“Repentance  ” 

was  directed  by  Edward  R.  Gordon,  at  the 
Windsor  Studios,  and  photographed  by 
Harold  Bastick. 

Peggy  Hathaway,  Ray  Raymond,  Fabbie 
Benstead,  Ward  McAllister,  Hettie  Bartlett, 
Geoffrey  Benstead,  and  Ray  Lankester  are 
in  the  cast.  Trade  show  tickets  can  be 
obtained  from  Renters,  Ltd.,  171,  W ardour 
Street,  W.l. 

Trade  Show:  Tuesday,  September  12,  at 
the  Shaftesbury  Pavilion,  at  11  a.m. 

rpilE  fourth  production  to  be  Trade  shown 
this  week  is  Donald  Crisp’s  production, 
“Tei.i.  Your  Children,” 
which  was  produced  for  International 
Artists’  Film  Co.,  at  the  Fainous-Laskv 
studio. 


to  See  your  Films 

Doris  Eaton  and  Walter  Tennyson  are 
starred,  and  are  supported  by  Cecil  Morton 
York,  Gertrude  McCoy,  Adeline  Hayden 
Coffin,  Mary  Rorke  and  A.  Harding 
Steerman. 

Trade  Show  -  ■  Thursday,  September  14, 
at  the  New  Gallery  Kinema,  at  n  a.m 

\  PRODUCTION  which  was  Trade  shown 
F*  -  last  March  has  now  been  sold,  and  a 
second  Trade  show  will  take  place  this 
week. 

“Potter’s  Clay  ” 

was  directed  by  Grenville  Taylor  and 
Douglas  Payne,  and  photographed  by 
Robert  Dykes. 

Ellen  Terry  plays  the  lead,  while  Peggy 
Hathaway  and  Dick  Webb  are  in  the  east. 

Trade  Show  :  Thursday,  September  14,  at 
the  West  End  Cinema,  at  11.30  a.m. 

"TilAMOND  Super  Films’  new  five-reel 
drama  which  was  directed  by  Alfred 
Brouett  at  the  B.  .and  C.  studios,  was 
adapted  from  Tom  Gallon’s  novel, 

“A  Rogue  in  Love,” 
is  also  on  the  week’s  Trade  show  list. 

The  leading  roles  are  filled  by  Gregory 
Scott  and  Ann  Trevor,  while  the  supports 
include  Fred  Rjains,  Kate  Gurney,  Frank 
Stanmore,  Lawford  Davidson  and  Betty 
Farquar. 

The  photography  is  by  L.  Egrot. 

The  film  is  being  handled  by  G.  Serra, 
5,  Denmark  Street,  W.C.2,  to  whom  all  ap¬ 
plications  for  Trade  show  tickets  should  be 
addressed. 

Trade  Show:  Tuesday,  September  12,  at 
the  West  End  Cinema,  at  n  a.m. 


CLUB  CLATTER 

fT^HE  Club’s  new  manager  and  secretary, 
Major  Foyle,  is  now  well  settled  in  his 
position  and  is  already  making  his  presence 
felt  in  many  directions.  He  has  many  ideas 
which  should  considerably  help  in  making 
the  club  more  attractive  to  members,  and 
these  will  be  put  into  execution  whenever 
time  is  ripe. 

The  success  of  the  catering  arrangements 
lias  been  such  that  a  cook  has  now  been 
engaged,  and  after  Saturday  hot  meals  will 
be  served.  It  is  hoped  that  members  will, 
whenever  possible,  try  to  lunch  at  the  Club, 
for  it  is  only  with  their  support  that  the 
lunches  can  be  served.  The  bigger  the 
attendances  at  lunch,  the  better  will  become 
the  lunches. 

During  his  visit  to  Germany,  Adrian 
Brunei  visited  the  German  Screen  Club, 
which,  unlike  the  English  one,  is  for  men 
only  and  is  used  by  directors  and  those  on 
the  business  side.  It  is  a  much  nicer  club 
than  ours  and  more  spacious.  Brunei  was 
well  received  by  the  members,  who  were 
very  interested  in  the  British  Club. 

A  sweepstake  is  being  organised  in  con¬ 
nection  with  the  St.  Leger.  Members  can 
obtain  tickets  at  the  club  or  from  members. 

A  week  or  two  ago  mention  was  made  of 
Frank  Canham  being  one  of  the  members 
of  the  Club  band,  this,  of  course,  was  meant 
to  be  Frank  Cadman.  We  are  now  informed 
that  the  name  of  the  drummer  is  Ludlowe, 
and  that  he  lias  now  no  connection  with 
Bramlin’s. 


CECIL  MORTON  YORK 

RUEBEN  HASLER 
in 

“  Tell  Your  Children.” 

Com;.:  KINEMA  CLUB.  Regent  2131 


GEO,  R.  SIMS 

THE  PASSING  OF 
“DAGONET ” 

A  Tribute  lrom  Judd  Green 

jf  KNEW  he  w.as  ill,  almost  his  last  joking 
paragraph  warned  me  that  1  might  soon 
lose  an  oia  and  valued  friend,  but  I  did 
not  think  it  would  be  so  soon.  I  am  deeply 
grieved. 

Much  water  has  passed  under  bridges 
since  I  first  met  George  R.  Sims.  I  was 
then  serving  my  time  as  a  printer,  bound 
apprentice  to  my  uncle,  James  Judd,  the 
Chief  Commoner  of  London.  Among  the 
many  papers  we  printed,  Fun  was  one  of 
them.  1  well  remember  setting  up  a  “par” 
in  G.  R.  S.’s  writing  that  was  destined  to 
make  a  considerable  noise  in  the  theatrical 
world.  It  was  a  distinct  libel  upon  Henry 
Irving,  and  “all  concerned”  found  them¬ 
selves  duly  lodged  before  the  authorities. 
Among  those  who  were  indicted  our  firm 
appeared,  Harry  Sampson  and,  of  course, 
G.  R.  S.  Dear  old  Johnny  Toole  gave 
evidence  for  Irving,  and  altogether  it  was  a 
very  pretty  to-do. 

It  cost  a  bit  of  money,  too,  and  I  well 
remember  a  paper  commenting  upon  the  sub¬ 
ject  saying,  “The  paragraph  in  question  was 
written  by  one  G.  R.  Sims,  of  whom  we 
never  heard  before,  and  no  doubt  we  shall 
never  hear  of  again,”  which  only  goes  to 
show  that  you  should  not  prophesy  unless 
you  know. 

George  R.  Sims’s  writings  did  more  for 
the  benefit  of  the  people  than  any  other 
writer  I  know  of.  If  he  had  been  a  Scots¬ 
man  or  an  Irish  spiritualist  he  would  have 
been  knighted  ;  but  he  was  an  Englishman 
who  loved  his  country,  and  that  is  the  last 
passport  in  the  world  for  honours. 

His  plays  will  live  long  after  plays  of  his 
time  are  forgotten ;  his  poems  are  recited 
the  world  over  now,  and  Mrs.  Brown  Potter 
first  gained  fame  by  reciting  “Ostler  Joe  ” 
to  the  Highbrows  of  the  American  400. 

Only  a  week  or  so  ago  I  was  playing  in 
“Fallen  by  the  Way.”  He  wrote  to  me  and 
in  a  joking  way  suggested  that  he  also  was 
falling  by  the  way.  Alas  !  that  is  the  last 
letter  T  shall  ever  receive  from  him. 

He  knew  I  had  never  missed  a  copy  of1  the 
“  Ref.”  ever  since  its  publication  45  years 
ago,  and  when  I  was  away  at  Nice  in  1920, 
playing  for  the  F.  P.-Lasky,  he  wrote  telling 
me  that  the  Referee  would  skip  a  week’s 
publication,  but  a  column  of  “Dagonet” 
would  appear  in  the  Evening  News. 

I  was  going  to  write  him  last  night  to  tell 
him  I  was  playing  Tom  Dossiter  in  “The 
Harbour  Lights,”  which  is  going  to  be  pro¬ 
duced  for  the  Ideal  by  my,  and  his,  old 
friend,  Tom  Terriss,  when  my  evening  paper 
arrived  with  the  sad  news.  Only  just  over 
75,  he  died  all  too  soon,  and  England  is  the 
poorer  for  the  loss  of  this  good  son. 


CLIFTS  NEXT 

Perhaps  the  most  talked  of  book  at 
the  moment  is  “This  Freedom,” 
which  is  A.  S.  M.  Hutchinson’s 
successor  to  ‘If  Winter  Comes.”  The 
film  rights  for  this  have  been  secured 
by  Ideal,  and  Denison  Clift  is  now 
busy  preparing  the  scenario.  Mr. 
Clift  will  commence  direction  as  soon 
as  possible  with  Fay  Compton  as  the 
star.  “  Out  to,  Win  ”  is  also'  on  the 
Ideal  program,  while  Tom  Bentley  has 
already  commenced  work  on  “The 
Green  Sea  Island.” 


16 


September  9,  1922 


THE  MOTION  PICTURE  STUDIO 


CAMERA 


CAMERAMEN 


CELEBRATE 


STORIES 

Below  we  give  some  extracts  from  an  in¬ 
teresting  article  published  in  the  Moving 
Picture  World,  of  America.  The  views 
are  expressed  by  Alvin  Wychoff,  who  is 
instructor  cf  kinematography  and  light¬ 
ing  in  the  Paramount  Stock  Company 
and  School. 

Help  tell  the  story  of  the  picture  by  the 
photography  ! 

That  is  the  first,  middle  and  last  rule  f°r 
screen  photographers.  Everything  else  that 
can  be  said  on  the  subject  of  motion  picture 
photography  in  so  far  as  it  applies  to  the 
making  of  photoplays  hinges  on  this  vital  ' 
fact :  That  photography  is  the  vehicle  that 
carries  the  story.  That  is  the  initial  advice 
I  give  the  student-kinematographers  in  my 
class  in  the  Paramount  Stock  Company  and 
School.  By  their  ability  to  profit  by  it  will 
be  gauged  their  success  as  cameramen. 

In  the  language  of  picture  making,  achiev¬ 
ing  perfect  photography  is  called  making 
a  “correct  exposure.”  What  that  means  is 
that  the  cameraman  must  get  a  thorough  un¬ 
derstanding  of  what  the  director  is  attempt¬ 
ing  to  convey  to  the  audience,  and  then  put 
this  photographically  into  the  scene. 

This  can  be  done  in  but  one  way—by 
fighting.  The  photographic  effects  of  a 
scene  are  brought  out  by  shadow_s.  These 
may  be  very  fight  and  shadowy  or  very 
black~and  sharp.  The  degree  of  shadow  in¬ 
tensity  is  determined  by  the  dramatic  mood 
or  tempo  of  the  scene.  It  is  to  determine 
the  quality  of  the  scene  that  the  cameraman 
must  keep  in  constant  touch  with  his  director 
To  illustrate  :  Suppose  that  the^  scene  in 
question  shows  a  young  woman  in  a  very 
happy  moment.  Now  the  natural  tendency 
of  any  scene  photographed  with  indis¬ 
criminate  lighting  is  to  be  flat.  It  lacks  in 
detail  and  character.  This  also  results 
when  all  the  fight  is  introduced  from  one 

source.  ,,  ,  . 

The  cameraman’s  procedure  should  be  to 
watch  a  rehearsal  of  the  dramatic  business 
of  the  scene  very  closely.  Study  it.  Then 
fight  it  with  a  bright  highlight  here  and 
there  and  contrasting  light  shadows. 

All  light  must  lead  directly  to  the  actress. 
None  of  the  details  around  her  must  be 
emphasised  by  the  lighting.  Unless  this 
rule  is  adhered  to  the  eye  of  the  spectator 
wanders  to  the  irrelevant  detail. 

In  a  scene  with  a  happy  atmosphere  the 
shadows  are  fight.  If  the  scene  calls  for 
an  expression  of  hatred  those  same  shadows 
would  be  deeper  and  blacker. 

Shadows  help  more  than  highlights  to  ex¬ 
press  the  mood  of  the  scene.  These  shadows 
are  most  effectively  used  across  the  face  of 
the  subject,  but  it  is  not  always  possible  to 
do  this.  Some  faces  will  not  stand  heavy 
shadows.  This  is  particularly,  true  of  so- 
called  “strong”  faces  or  those  in  which  the 
features  are  prominent. 

In  this  case  the  shadow  effects  must  be 
worked  out  on  the  background,  the  furniture 
or  apparel.  But  these  must  never  be  so 
pronounced  as  to  catch  the  attention  of  the 
spectator  and  lead  it  away  from  the  face  of 

the  player.  .  .  , 

One  of  the  dangers  of  photography  is  that 
it  may  become  too  beautiful.  When  the 
photography  overshadows  the  story,  failure 
results.  As  I  have  pointed  out  before, 
photography  is  the  vehicle  that  carries  the 
story.  The  story  is  the  cargo,  and  there¬ 
fore  the  important  thing.  At  no  time  must 
the  vehicle  attain  greater  importance  than 
the  story  it  is  carrying. 

A  perfect  picture  holds  the  attention  at 
all  times.  That  attention  can  be  lost  by 
(Continued  at  foot  of  next  column.) 


First  Annual  Outing  of  K.C.S. 


rgi HE  morning  which  broke  upon  my  sight 
at  six  thirty  on  Sunday  last  was  not 
calculated  to  elevate  the  spirits  or  to  lessen 
the  depression  with  which  early  rising 
always  affects  me.  The  sky  was  dark  and 
gloomy,  the  air  was  damp  and  raw,  the 
streets  were  wet  and  slushy — altogether  a 
cheerless  outlook  for  the  day  chosen  by  the 
Kine.  Cameramen’s  Society  for  its  first 
outing.  At  Hampton  Court  I  boarded  the 
Princess  Beatrice  and  settled  down  to  wait 
for  a  few  of  the  stragglers  to  arrive,  and 
the  bar  to  open.  The  waiting  was  too  much 
for  L.  G.  Egrot  and  Bert  Ford,  who  were 
observed  to  leave  the  boat  and  disappear 
in  the  direction  of  the  local  hostelry. 

Just  about  this  time  Kenneth  Gordon,  who 
had  been  meeting  the  next  train  in,  arrived 
and  the  boat  put  out  into  midstream.  Some¬ 
one  remembered  the  strange  disappearance 
of  Ford  and  Egrot,  who  were  then  sighted 
trotting  up  bv  the  river  side  at  a  good 
steady  pace.  Then  followed  an  exciting  race 
in  which  Ford  and  Egrot  succeeded  in 
cameramen,  suddenly  became  deserted  and 
was  evident  that  the  Egrot-Ford  expedition 
had  been  unsuccessful,  for  their"  running 
was  beyond  reproach. 

It  was  about  this  time  that  I  realised 
the  full  significance  of  the  nautical  term, 
“over  the  bar.”  When  the  bar  opened  a 
strange  phenomenon  was  witnessed,  the 
decks  which  had  been  crowded  with 
cameramen  suddenly  became  deserted  and 
from  the  saloon  someone  was  loudly  pro¬ 
claiming  his  nationality  by  shouting 
“Double  Scotch,”  which,  I  take  it,  is  in 
some  way  related  to  Double  Dutch.  I  was 
interested;  I  investigated — his  “nationality  ” 
tasted  good. 

We  were  surprised  to  find  that  there  was 
a  band  on  board,  so  after  patiently  listening 
to  a  rendering  of  “Colonel  Bogey,”  the 
piano  was  commandeered  and  with  becom¬ 
ing  modesty  one  of  the  cameramen  blush- 
ingly  came  forward  and  offered  to  sing.  I 
retired  to  the  other  end  of  the  boat,  being 
interested  in  the  beautiful  scenery,  which 
included  in  the  foreground  a  nttmber  of 
ladies  giving  a  fair  impersonation  of  “A 
September  Morn.  ” 

Off  Staines,  Jimmy  Taylor  made  a 
dramatic  appearance.  A  spectacular  chase 
ensued  in  which  Jimmy  in  a  punt  tried  to 
overtake  the  cameramen  in  the  bar.  Jimmy 
won. 

So  far  as  I  remember  the  journey  was 
not  particularly  exciting  until  we  got  off — 
the  boat — at  Runnymede.  Runnymede,  I 
might  explain,  for  "the  benefit  of  those  who 
have  not  explored  the  Thames  upreaches, 
is  an  entirely  fictitious  island,  inasmuch  as 
it  is  entirely  surrounded  by  water  on  one 
side  only.  I  wasted  much  valuable  time  in 
looking  for  signs  of  the  historic  meeting  of 
the  founders  of  the  Trade  union  movement, 


any  slight  jar.  And  those  jars  can  be 
caused  by  even  such  small  things  as  a 
soft  focus  close-up  of  the  star  which,  by 
reason  of  its  photographic  beauty,  calls  the 
attention  away  from  the  action.  If  the 
photographer  insists  on  filming  beautiful 
scenes  there  is  no  need  of  a  story.  Specta¬ 
tors  who  are  interested  in  the  purely  pic¬ 
torial  quality  of  a  picture  will  enjoy  a  good 
scenic  much  more  than  a  photoplay. 

I  do  not  mean  to  exclude  beauty  from  the 
motion  picture  screen.  But  this  beauty  must 
never  overshadow  in  importance  the  drama¬ 
tic  action  of  the  story.  A  “correct  ex¬ 
posure  ”  maintains  this  perfect  balance 
between  drama  and  beauty. 

Learn  to  make  a  “correct  exposure,”  and 
half  of  the  kinematographic  art  is  mastered. 


who,  a  number  of  years  ago  met  somewhere 
round  here. 

According  to  schedule  a  sports  meeting 
was  next  field. 

The  camera  race  was  an  ingenious  and 
exciting  event.  Each  competitor  had  to  run 
fifty  yards,  pick  up  a  tripod  and  mount  a 
camera  on  top.  After  which,  he  was  re¬ 
quired  to  run  to  the  winning  post,  and  place 
his  camera  level,  ready  for  shooting.  It  was 
quite  amusing  to  see  the  cameramen  dash¬ 
ing  along  carrying  their  own  cameras  and 
shedding  all  manner  of  gadgets  and  handles 
as  they  ran. 

After  the  race  a  search  party  was  organ¬ 
ised  and  sent  out  to  look  for  the  missing 
pieces  of  cameras  that  had  gone  astray 
during  the  race. 

The  film  rewinding  race  required 
that  those  competing  should  wind  a 
hundred  feet  of  film  before  they  canie 
in  past  the  winning  post.  This,  like 
the  camera  race,  provided  the  onlookers 
with  many  opportunities  for  witticisms 
and  humorous  remarks.  The  winners 
were :  Camera  Race,  first  heat :  J  ack 

Cotter  first,  and  A.  Arch  second;  second 
heat:  J.  Taylor  first,  J.  Hodgson  second; 
third  heat:  Henry  Saunders  first,  and  E.  T. 
Grant  second.  Final :  J.  Cotter  first,  A.  Arch 
second,  and  J.  Taylor  third.  Film  Rewind¬ 
ing  Race. — First  heat:  J.  Hodgson  first,  and 
K.  Gordon  second;  second  heat:  S.  Rodwell 
first,  and  J.  Cotter  second.  Final:  J. 
Hodgson  first,  Iv.  Gordon  second,  and  J. 
Cotter  third.  Bert  Ford  won  the  100  yd. 
handicap  with  A.  Arch  and  Henry  Saunders 
second  and  third  respectively.  In  the  three- 
legged  race  Kenneth  Gordon  and  his  lady 
partner  came  in  first,  closely  followed  by 
'Henry  Saunders  and  his  wife.  The  visitors’ 
race  was  won  by  G.  C.  Jones,  with  A.  Blay 
second,  and  A.  R.  Tozer  third.  Stanley 
Rodwell  won  the  open  100  yd.  race,  and  A. 
Arch  and  J.  C.  Jones  were  second  and 
third.  J.  Barbray  won  the  Pressman’s  race 
and  J.  E.  Fletcher  came  in  second.  Prizes 
were  given  by  Kodak,  A.  R.  Tozer,  Topical, 
Pathe,  Gaumont,  Duncan  Watson,  Vinten, 
and  Debrie. 

I  stopped  long  enough  to  see  Kenneth 
Gordon  win  the  three-legged  race,  then 
wandered  off.  When  I  arrived  back  an  hour 
later  it  was  to  find  that  the  good  ship 
Princess  Beatrice  had  put  out  and  was  sailing 
gaily  down  the  river  on  her  homeward 
voyage.  Another  exciting  chase  took  place, 
and  eventually  I  was  sucessful  in  getting 
aboard  at  the  first  lock. 

From  then  onwards  the  proceedings  began 
to  assume  a  livelier  aspect.  Whether  it  was 
the  direct  result  of  the  mixture  of  cake  and 
radish  we  had  for  tea,  or  not,  I  would  not 
with  certainty  say.  At  any  rate  a  great  deal 
of  speech  making  took  place  in  the  saloon. 
I  happened  to  be  present  to  enjoy  the 
spectacle  of  Kenneth  Gordon  and  A.  Arch 
drinking  their  own  healths  as  heartily  as 
anyone,  when  a  toast  was  drank  to  them. 

During  the  voyage  a  plentiful  supply  of 
streamers  had  been  at  hand  for  attacking 
those  on  the  river  bank  or  in  other  boats, 
ibut  the  supply  having  givetti  out  rolls 
of  film  spacing  was  utilised  for  this  very 
necessary  procedure.  Why  it  was  necessary 
for  a  group  of  cameramen  to  station  them¬ 
selves  on  deck  and  try  to  throw  things  down 
the  funnel  is  beyond  understanding,  but 
as  the  man  who  was  asked  why  he  jumped 
through  the  plate  glass  window  on  Armistice 
night  said,  it  seemed  a  good  idea  at  the 
time. 

The  sun  was  sinking  in  its  customary 
place  when  the  boat  put  in  at  Hampton 
Court.  The  Jolly  Roger,  the  pirates’  emblem, 
which  had  flown  from  the  masthead  during 
the  whole  of  the  voyage,  was  hauled  down 
and  a  gay,  jovial  party  of  cameramen 
wended  their  way  home — I  hope *  1 


17 


THE  MOTION  PICTURE  STUDIO 


September  g,  iq2? 


COMPLETE  LIST  OF  ALL  THE  BRITISH  STUDIOS,  TOGETHER 
WITH  ADDRESSES,  TELEPHONE  NUMBERS, 


Alliance  Film  Co. 

Studio  :  St.  Margaret’s,  Twicken¬ 
ham. 

Phone:  Richmond  1945. 

Route  :  Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s.  Fare  : 
1st,  2s.  OR,  3rd,  Is.  0|d.  ;  R.T., 
1st  3s.  Id.,  3rd  2s.  Id. 

From  Waterloo  :  A.m.,  every 
10  minutes  ;  from  St.  Margaret’s 
every  10  minutes. 

Artistic  Films,  Ltd. 

Address  :  93-95,  Wardour  Street, 

W.  1. 

Phone  :  Gerrard  3210. 

Film  :  “  Skipper’s  Wooing.” 
Director  :  H.  Manning  Haynes. 
Cameraman  :  Frank  Grainger. 
Scenarist  :  Lydia  Hayward. 

Stage  :  Cutting  and  Assembling. 

Film:  “  Dialstone  Lane.” 

Stage  :  Scheduled. 

Barkers. 

Address  :  Ealing  Green,  London, 
W.  5. 

Phone:  Ealing  211  and  1582. 
Studio  :  Being  used  by  Daisy 
Production. 

B.  &  C.  Productions. 

Address  :  Hoe  St.,  Walthamstow. 
Phone  :  Walthamstow  364  and  712. 
Route  :  Bus  38.  Tram  81  to 
Bakers’  Arms.  G.E.R.,  liver- 
pool  Street  to  Hoe  Street. 
Fare  :  1st  Is.  2d.',  2nd  10jd., 
3rd  7d.  R.T.,  1st  Is.  9d.,  2nd 

Is.  4d.,  3rd  1  Old. 

From  L.S.  :  A.m.  7.58,  then 
everv  few  minutes  until  p.m., 
9.5,  9.20,  9.35,  9.50,  10.5,  10.20, 

10.35,  10.50,  11.5,  11.20,  11.35, 

11.50,  12.5,  12.35  midnight. 

Hoe  Street  to  L.S.  :  A.m.,  7.53, 

8.2,  8.8,  then  every  few  minutes  ; 
p.m.,  8.20,  8.35,  8.50,  9.6,  9.20, 

9.35,  9.49,  10.6,  10.20,  10.36, 

10.50,  11.6,  11.20,  11.35,  12.2. 
Film  :  Historial  Incidents. 
Director  :  George  Ridgwell. 
Cameraman  :  I.  Roseman. 

TyrE  :  One  reelers. 

Stage  :  One  a  fortnight. 

British  Famous  Films. 

Address  :  “  Woodlands,”  High 

Road,  Whetstone. 

Phone  :  Finchley  1297. 

Studio  Vacant. 

British  and  Oriental. 

Address  :  B.  P.  Studios,  Thornton 
House,  Thornton  Road,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Studio  being  used  by  Quality  Films. 

British  Fhotoplays. 

Address  :  Devon  Chambers,  28, 
Fleet  Street,  Torquay. 

Not  Working. 

British  Productions. 

Address  :  Selborne  Road,  Hove. 
Film  :  Historial  Subjects. 
Director  :  Lieut.  Daring. 
Cameraman  :  A.  Kingston  . 


British  Super  Films. 

Address:  Worton  Hall,  Isleworth. 
Phone  :  Hounslow  212. 

Route  :  Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth. 
Fare  :  1st  Is.  Oid.,  3rd  9d.  ; 
R.T.,  1st  Is.  9d.,”  3rd  Is.  6d.  ; 

а. m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 
past  each  hour  until  11.51  p.m. 
Extra  trains,  4.43,  5.13,  5.43, 

б. 13,  6.43,  7.13. 

Isleworth  to  Waterloo  :  8.33, 

8.44,  9.3,  9.14,  9.33,  9.44,  10.14, 

10.44.  Same  minutes  past  every 

hour  until  10.44,  11.14  p.m. 

Extra  trains  5.30,  6.0,  6.30. 

Film  :  “  Castles  in  the  Air.” 
Director  :  Fred  Paul. 

Stage  :  Cutting  and  Assembling 

Film  :  “  The  Right  to  Strike.” 
Stage  :  Second  week. 

Daisy  Producticns. 

Address  :  Barker’s  Studio,  Ealing. 
Phone  :  Ealing  211  and  1582. 
Film  :  “  Gipsjr  Blood.” 

Director  :  Bert  Haldane. 

Star  :  Daisy  Agnew  and  J.  Donatus 
Cameraman  :  H.  G.  Jones. 
Scenarist  :  Daisy  Agnew. 

Stage  :  Nearing  completion. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson 

Address  :  Lea  Bridge  Road,  E.  10. 
Phone  :  Walthamstow  634. 


Route  :  Bus  Nos.  35  and  38. 
Trams  81,  55,  57. 

G.E.R.  from  Liverpool  Street 
to  Lea  Bridge  Road.  Fares  : 
1st  Is.  2d.,  2nd  10Jd.,  3rd  7d. 
R.T.,  1st  Is.  9|d.,  2nd  Is.  4d., 
3rd  lOJd.  A.m.,  10.34 ;  p.m., 
1.20,  3.5,  4.37,  6.27,  8.5. 

Lea  Bridge  to  Liverpool  Street : 
P.m.,  1.4,  5.27,  5.54,  6.29,  7.7, 
8.4,  8.57,  10.4. 

Film  :  “  The  Sporting  Instinct.” 
Director  :  Arthur  Rooke. 
Scenarist  :  Kinchen  Wood. 
Cameraman  :  Leslie  Eveleigli. 
Stage  :  Cutting  and  Assembling. 
Evan-Phillips  Film  Production. 
Address  :  3,  Wardour  Street,  W.l. 
Phone  :  Regent  3282. 

Film  :  “  Hims  —  Ancient  and 

Modern.” 

Director  :  E.  D.  Roberts. 
Scenarist  :  C.  Lowndes  Yates  and 
Muriel  Alleyne. 

Star  :  Athalie  Davis. 

Stage  :  First  week, 

r.  P.-Lasky. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
and  then  tram  No.  11. 

Studio  being  used  by  Grahame 
Cutts. 

Gaumont. 

Studio  :  L:me  Grove,  Shepherd’s 
Bush,  W.l 2. 

Phone  :  Hammersmith  2090-1-2. 
Route  :  Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station 

Film  :  “  Rob  Roy.” 


Director  :  Will  Kellino. 
Cameraman  :  A.  St.  Brown. 

Stage  :  Cutting  and  Assembling. 

Film  :  “  The  Scientist.” 

Director  :  Capt.  Calvert. 

Star  :  Marjorie  Hume,  David  Haw¬ 
thorne,  H.  R.  Hignett  and  Frank 
Dane. 

Scenarist  :  Alicia  Ramsay. 

Stage  :  Second  week. 

CL-n  Film  Productions. 

Address  :  20,  Lisle  Street,  W.C. 
Studio  :  “  Belgrave,”  Marine 

Terrace,  Aberystwyth. 

Not  working. 

Ceorge  mark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Phone  :  Museum  3012. 

Film-  “Maid  of  the  Silver  Sea.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Stage  :  Second  week. 

Grahame  Wilcox  Productions. 
Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
then  tram  No.  11. 

Film  :  ‘‘  Flowers  of  Passion.” 

Director  :  Grahame  Cutts. 

Stage  :  Cutting  and  Assembling 

Film  :  “  Paddy  the  Next  Best 

Thing.” 

Director  :  Grahame  Cutts. 

Stage  :  Scheduled. 

Cranger-Binger. 

Address  :  191,  Wardour  St.,  W.  1. 
Phone:  Gerrard  1081  and  1728. 
Studios  :  Haarlem,  Holland. 

Film  :  “  The  Lion’s  Mouse.” 

Star  :  Mary  Odette. 

Stage  :  Scheduled. 

Grarvil.e  Pr  ductions. 

Address  :  Windsor  Studios,  Brom¬ 
ley  Road,  Catford. 

Phone  :  Lee  Green  948. 

Film  :  “  Shifting  Sands.” 
Director  :  Fred  Granville. 
Starring  :  Peggy  Hyland. 

Type  :  Five  reel  drama. 

Stage  :  Nearing  completion. 

Film  :  “  Hennessey  of  Moresby.” 
Stage  :  Starting  shortly. 

Hardy. 

Address:  13,  Gerrard  St.,  W.l. 
Film  :  “  The  Adventures  of  Billy 
Bunter.” 

Stage  :  Scheduled. 

Harma  Clarendon. 

Address  :  16,  Limes  Road,  Croydon 
Phone:  Croydon 921  and 2084. 

Not  working. 

Hepworth  Picture  Plays. 

Address  :  Walton-on-Thames. 
Phone  :  Walton  16. 

Route  :  From  Waterloo.  Fare ; 
1st  4s.  11 -Id.,  3rd  2s.  6d.  ;  R.T., 
1st  7s.,  3rd  4s.  4-gd. 

From  Waterloo :  A.m.,  7.0, 

8.0,  9.20,  10.20,  11.20;  p.m., 
12.20,  1.20,  2.20,  3.20,  4.20,  4.54, 
5.15,  5.20,  5.44,  5.54  ,  6.15,  6,20, 
7.0,  7.20,  8.20,  8.55,  9.20,  10.20, 
11.34. 


STUDIO  MANAGERS 

are  earnestly  requested  to  co-operate  with 
us  in  keeping  this  record  accurate  and  up- 
to-date  by  returning  the  postcards  we  send 
them  each  week  with  full  details  of  their 

CURRENT  PRODUCTIONS 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


’Phone 


DEBRIE 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W.  i 


18 


September  9,  1922 


THE  MOTION  PICTURE  STUDIO 


FULL  PARTICULARS  OF  CURRENT  PRODUCTIONS,  ROUTES 
AND  FARES  FOR  REACHING  THE  STUDIOS 


From  Walton  :  A.m.  7.59,  8.29, 
8.41,  8.56,  9.9,  9.46,  10.10,  11.10  ; 
p.m.,  12.10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44,  6.10,  7.10,  8.10,  9.10, 

10.10,  10.35,  11.34. 

Film  :  Not  announced. 

Director  :  Henry  Edwards. 

Ideal. 

Address  :  Boreham  Woods,  Elstree, 
Herts. 

Phone  :  Elstree  52. 

Route  :  Trains  from  St.  Pancras. 
Fare  :  1st  2s.  lid.,  3rd  Is.  9LJ.  ; 
R.T.,  double  fare.  A.m.,  7.30, 
8.0,  8.50,  9.55,  10.45,  11.40; 
p.m.,  12.33,  1.13,  2.35,  3.55,  4.45,  j 
5.12,  6.2,  6.43,  6.48,  7.15,  8.8.  j 
9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras : 
9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.7,  3.56,  4.37,  5.29,  6.21,  6.25, 
7.36,  S.49,  10.14,  10.56. 

Studio  Manager  :  F.  A.  Kendrick. 
Stage  Manager  :  F.  G.  Knott. 

Art  Director:  J.  T.  Garside. 

Film  :  “  Mary  Queen  of  Scots.” 
Director  :  Denison  Clift. 

Star  :  Fay  Compton. 

Scenarist  :  Denison  Clift. 

Stage  :  Preparing  Scenario. 

Film  :  “  The  Grass  Orphan.” 
Director  :  Frank  Crane. 

Star  :  Margaret  Bannerman. 

Stage  :  Sixth  week. 


Film  ;  “  Green  Sea  Island.” 

Director  :  Thomas  Bentley. 

Star  :  Flora  Le  Breton. 

Stage  :  First  week. 

Film  :  “  This  Freedom.” 

Director  :  Denison  Clift. 

Star:  Fay  Compton. 

Scenarist  :  Denison  Clift. 

Stage:  Preparing  Scenario. 

Film  :  “  Harbour  Lights.” 

Director  :  Tom  Terriss. 

International  Artists. 

Address:  52,  Shaftesbury  Av.W.l. 

Film  :  “  Burning  Sand.” 

Director  :  Bert  Wynne. 

Star  :  Doris  Eaton. 

Film  :  God’s  Prodigal. 

Director  :  Ed.  Jose. 

Isle  of  Man  Films. 

Address  :  The  Manx  Studios, 
Isle  of  Man. 

Not  working. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington. 

Phone  :  Kingston  1617. 

Route  :  From  Waterloo  to  Tedding¬ 
ton.  Fare:  1st  2s.  7-£d.,  3rd 
Is.  4d.  ;  R.T.,  1st  4s.  4|d.,  3rd  j 
2s.  8d.  From  Waterloo,  a.m., 
7.55.  Then  trains  every  few 
minutes  until  11.55  p.m.  From  | 
Teddington,  a.m.,  7.51.  Then 

trains  every  few  minutes  until 
11.1,  11. 16, *11.51  p.m.  Bus  27. 

Film  :  “  Sporting  Subjects.” 

Directors  :  H.  B.  Parkinson,  Ed¬ 
win  J.  Collins  and  George  Wynne 
and  Challis  Sanderson. 


Cameraman  :  Theodore  Thum- 
wood. 

Type  :  One  reelers. 

Stage  :  Two  a  week. 

Film  :  “  A  Gamble  with  Hearts.” 
Director  :  H.  B.  Parkinson. 
Stars:  Valia,  Madge  Stuart, 
Milton  Rosmer. 

Stage  :  First  week. 

Minerva  Films. 

Address  :  110,  Victoria  St.,  S.W-1. 
Phone  :  Victoria  7545. 

Not  working. 

Pr  gress  Film  Co. 

Address  :  Shoreham-on-Sea. 
Phone  :  Shoreham  19. 

Film  :  “  Rogues  of  the  Turf.” 
Director  :  Wilfred  Noy 
Stage  :  Editing. 

Film:  “Against  Fearful  Odds.” 
Director  :  Wilfred  Noy. 

Stage  :  First  week. 

Qual  ty  Films. 

Address  :  B.  P.  Studios,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Film  :  One  reelers. 

Director  :  George  A  Cooper. 


Studio  Manager  :  S.  Folker 
Cameraman  :  R.  Terreaneau. 
Stage  :  One  a  week. 

Raleigh  King  Productions. 

Address  :  Watcombe  Hall,  Tor¬ 
quay. 

Studio  :  Vacant. 

Regulus  Films. 

Address  :  48,  Carnaby  Street, 

Regent  Street,  W.l. 

Not  working. 

Seal  Productions. 

Address  :  171,  Wardour  Street. 

Phone  :  Regent  4329. 

Not  working. 

Screenplays. 

Address  :  Cranmer  Court,  Clapham 
Phone  :  Brixton  2956. 

Route  :  Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll. 

Address  :  Temple  Road,  Crickle. 
wood 

Phone  :  Willesden  3293. 

Route  :  Bus  No.  16. 

Studio  Manager  :  J  Grossman. 
Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 


all  communications  to  be  addressed  to  the  firm  and  not  to  individuals. 


London  0,'JctA  .* 

8  &  7,  Piccadilly  Mansions, 
Shaftesbury  Avenue,  W.  1. 
Telephone:  Obbaaihj  3812. 


Masters  Films.  Ltd. 


Telephone : 

KINGSTON  1617. 
Telejrame  1 

“  F&a*.  W«ir.xH«a*®.  Teddington.' 


STUOI O  A  WORKS: 


^2l?eir  &fCouse, 

<&$room  oil  cad, 

TEDDINGTON. 

10th  August  1322. 


Ernest  0. Alllghsn ,  Sag., 
The  Motion  Picture  Studio, 
•93  long  Acre  W.C.2. 


Dear  Sir, 

AaknowledgiBg  yohrs  of  the  9th  inst.,  I  desire 
to  say  that  X  consistently  make  use  of  the  KoeiOf*  Picture 
Studio  when  easting.  If  I  was  an  artist  I  would  certainly 
ksei)  a  snail  advertisement  running  through  your  paper.  I 
eersomlly  would  like  to  sse  more  artists  using  yeur  space 
under  the  beading  of  ‘"AHD'S  WHERE". 

Faithfully  Yours, 


<r" 


MASTERS  }'IL®  ITS. 


(H.B  .Parkinson) 
llahaging  Direotor. 


This  Utter  does  not  constitute  an  Bngaiemenl  or  a  Contract. 


Stars  :  Henry  Victor,  Stewart 
Rome  and  Edith  Bishop. 
Cameraman  :  D.  P.  Cooper. 

Stage  :  Sixth  week. 

Film  :  “  A  Debt  of  Honour.” 
Director  :  Maurice  Elvey. 
Cameraman  :  Jack  Cox. 

Cutting  and  assembling. 

Film  :  “  Petticoat  Loose.” 
Director:  Sinclair  Hill. 

Stage  :  First  week. 

J.  Stuart  Blackton. 

Address  :  Bush  House,  Aldwych. 
Phone  :  Central  1935. 

Film  :  Not  Announced. 

Director  :  J.  Stuart  Blackton. 

Torquay  &  Paignton  Photoplays. 

Address  :  Public  Hal!,  Paignton. 
Not  working. 

Union  Films. 

Address  :  Strand  Street,  Liverpool. 
Phone  :  Central  (Liverpool)  325. 
Not  working. 

Walker  Boyd  Sunshine  Produc¬ 
tions. 

Film  :  “  Hide  and  Seek.” 
Director:  Martin  Walker. 
Cameraman  :  Bert  Ford. 

Stage  :  Cutting  and  Assembling. 

Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. 

Address  :  Princes  Studios,  Kew 


Bridge, 

Phone  :  Chiswick  574. 
Route  :  Bus  Nos.  27,  105. 


Broad 

Street 

tc 

i  Kew. 

Fare  : 

1st 

Is. 

4d.,  3r 

d 

9d., 

RT 

1st 

2s.  fl 

^d., 

8.4c 

3rd  Is. 

.  4d. 

A.m 

.,  8.2, 

8.20, 

>,  9-0,  9 

.4 

7,  10 

.17, 

10  47, 

ll.L 

1,  11 

•  47  ;  p. 

m 

12 

.17, 

12.47, 

1.17, 

1.4 

7,  2.17, 

2. 

,47 , 

3.17. 

,  3.47, 

4.17, 

4.31,  5.3, 

5. 

17,  1 

->.32, 

5.40, 

6.2, 

6. 20 

,  6.50, 

7. 

17,  r 

7.47, 

8.17, 

8.47, 

9.1 

7,  9.30. 

Kew  Bridge  to  Broad  Street  : 
A.m.,  9.40,'  10.8,  10.38,  11.8, 
11.38 ;  p.m.,  12.8,  12.38,  1.8, 

1.38,  2.8,  2.38,  3.8,  3.38,  4.8,  1.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20, 

6.38,  7.8.  7.38,  8.8,  8.38,  9.8,  9.38. 
Film  :  “  The  Pruning  Knife.” 
Director  :  Walter  West. 

Star  :  Florence  Turner. 

Stage  :  Fifth  week. 

Welsh  Pearson. 

Address:  41-45,  Craven  Park, 
Harlesden,  N.W.  10. 

Phone:  Willesden  2862. 

Route  :  Bus  No.  18. 

Film:  “The  Romany.” 

Star  :  Victor  McLaglen. 

Director  :  Martin  Thornton. 
Cameraman  :  Percy  Strong. 

Stage  :  Fourth  week. 

Film  :  “  Squibs  Wins  the  Calcutta 
Sweep.” 

Director  :  George  Pearson. 

Star  :  Betty  Balfour. 

Cameraman  :  Emile  Lauste. 
Scenarists:  Hugh  E.  Wright  and 
George  Pearson. 

Stage  :  Fourth  week. 


19 


The  Motion  Picture  Studio,  September  9,  1922. 


Registered  at  the  G.P.O 
as  a  Newspaper 


MOTIQM 


(Photo  by  ERNEST  MILLS,  “At  Home  Studio”  185,  Piccadilly,  W.l.) 


SHIRLEY 


LEADS  IN  “THE  WILDERNESS  ( HAGENBECK ) 

“THE  WHITE  DESERT  ”  ( HAGENBECK ) 

At  present  playing  lead  in  “  PETTICOAT  LOOSE  ”  (STOLL) 

SOLELY  REPRESENTED  BY 

FRANK  ZEITLIN,  3,  Gt.  Windmill  St.,  Piccadilly  Circus  W.L 

Phone  •  REGENT  6696. 


Printed  and  Published  by  ODHAMS  PRESS  Ltd.,  Long-  Acre,  W.C.2.  —  September  9,  1922 


N/LTON  ROSMER 


tntirc  Cast- 


cion. 

arkiasoiu 


Worlds  rights  owned  by 
W.&F. FILM  SERVICE, 

62  FRITH  ST.  W.  2  ! 


September  16,  1922 


THE  MOTION  PICTURE  STUDIO 


ATHALIE  DAVIS 

Juvenile  Leads. 

Com  dy  &  Emotional  Parts. 

DISENGAGED. 

Latest  Film  : 

“Hims  Ancient  and  Modern." 
Coins.  :  70,  Goldhurst  Ter- 
rac  ■,  Ham  stead.  N.W.6. 
’Phone  HainDstead  £66. 


NOEL  GRAHAME 

Heavy  Character  &  Coined}'. 
Heavy  lead  :  “  Bladys  of  the 
Stewponey,”  “Cost  of  a  Kiss,” 
“  Britain’s  Naval  Secret,”  etc. 

12,  Glebe  Place, 

Chelsea,  S.W.3., 
and  Kinema  Club. 
'Phone:  Regent  2131. 
Photo  by  Havana 


FRED  WRIGHT. 

The  Crazy  Hunchback 
in  the  colour  film 
‘‘The  Glorious  Adventure,” 
Covent  Garden  Theatre. 
THE  COPSE, 

WEST  DRAYTON 
’Phone.-  Yiewsley  82,  or 
Kinema  Club. 


EVELYN 

BRENT 

Latest  Productions, 

“  Demos,”  “  Sonia,” 

“  Laughter  and  Tears,”  etc 
At  present,  Famous  P.-L. 
Bus.  Corns.,  Sidney  Jay, 
181,  Wardour  Street,  W.l 
Regent  4329. 


GORDON  HOPK1RK 

Leads-Ideal:  ‘Sybil,’  ‘Ernest 
Malt!  avers  ’  Direct:  ‘four 
MeninaVan.’  Masters  :‘Frua 
Diavolo,’  ‘  Bride  of  Lammer- 
moor,’  ‘Faust,’  ‘Maritana,’ 
‘Jane  Shoie.’  ‘Stella’: 
P.  &  B  ‘Settled  in  Full.’ 
B.&C  :  ‘The  Queen's  Secret.’ 
Artistic:  ‘The  Skipper’s 

Wooing’  Address: 

‘-thool  House,  Tower  Street, 
W.C.2  or  Ki  iema  Club. 


MARY  ODETTE 

Just  concluded  : 

“The  Faithful  Heart”  and 
“Windows  ” 
(Comedy  Theatre) 
Latest  Rele  uses  : 

“Wonderful  Year’ 

“AH  Roads  Lead  tc  Calvary.” 
All  corns.  :  Sidney  Jay, 

181,  Wardour  Street. 
Recent  4329. 


GORDON  BEGG 

Dramatic  —  Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.U, 
Telephone :  Battersea  21. 


ENA  BEAUMONT. 

Leads  in  “The  Greater  Love,” 
“The  Golden  Web  "“All  the 
Winners,”  “  Patricia  Brent, 
Spinster,”  “  Our  Girls  and 
Their  Physique,”  “Settled  in 
Full,”  “  Watching  Eyes,”  etc. 
21,  Breakspears  Road, 
Brockley  S.E  4. 
’Phone  :  New  Cross  622. 


ROSINA 

WRIGHT, 

Famous-Lasky,  Stoll,  Lon¬ 
don.  Samuelson,  Davidson, 
Ideal,  Broadwest,  etc. 

7  years  Film  Experience. 
8a,  GOLDERS  WAY, 
GOLDERS  GREEN,  N.W.l. 
or  Kinema  Club. 


5  Montem  Road,  Forest  Hill,  S.E. 23,  or  Kinema  Club 


ERIC 

LEIGHTON 

Leads  only. 


9,  ALBANY 

COURTYARD, 

PICCADILLY, 

Phone  :  Regent  5394. 


SYDNEY  WOOD, 

Juv.  Leads  in  “  The  Warrior 
Strain.”  “HerBenny,”  “  Ever 
Open  Door,”  “  Bars  of  Iron,” 
“The  Flame,”  “The  Will,” 
“  Double  Event.”  “David  and 
Jonathan,”  etc  Address  : 
The  Laurels  Beverley  Road, 
Anerley,  S.E. 

’Phone:  Chancery  7080-7081. 


GEORGE  KEENE 

Star  Lead.  Disengaged. 
Featuring — “  Black  Sheep,” 
“Through  Stormy  Waters,” 
1  Nothing  Else  Matters,” 

“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 
Address  : 

121b,  Church  St.,  Croydon 
’Phone  :  Croydon  835. 


1 


DAISY  BURRELL 

Just  finished  playing  lead  in 
‘  ’  Cinderella  ’’  panto. 

Last  Film  :  Star  part  in 
“  Pride  of  the  Fancy.  ’ 

OPEN  TO  OFFERS. 
39,  Avonrm're  Road, 

West  Kensington. 
’Pf  .me  :  Western  675. 


ALEC.  ALEXANDER 

Juvenile  Artiste.  Jnr. 

OFFERS  WANTED. 
All  corns.:  163,  Hackney 
Road,  E.2. 

’Phone  :  Dalston  2583. 
or  KINEMA  CLUB, 
Regent  2131. 


LILIAN 

HALL  DAVIS. 

JUVENILE  LEADS. 
Samuelson,  Ideal,  Gra¬ 
ham  Wilcox,  etc.,  etc. 
All  corns.  :  Sidney  Jay, 
181,  Wardour  St.,  W.l. 
Regent  4329. 


ARTISTES.  .  .  .  . 

WARREN 
HASTINGS 

5,  POND  PLACE. 

CHELSEA 
S.W.3. 


JAMES  DONATUS 

1912-3.  “  Vee-Dee  Films, "  Marple. 

1922.  Just  completed  “  Paolo, ”  Gipsy  lead  in 
‘  Gipsy  Blood,"  for  Daisy  Productions.  “Robert 
Southev,”  in  “  A  Prince  of  Lovers’’  (Gaumont). 
“  Surgeon,”  in  Henry  VIII.”  (B  &  C.). 
Alliance,  Stuart-Blackton.  Ideal,  Samuelson,  etc 
And  the  Address  is  :  394b,  Uxbridge  Rd.,  W.12. 

ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 

Character  Parts,  “  Mrs.  Gatty,”  in  “Christie 
Johnstone  ’’  (Broadwest),  “  Margaret  Howe" 
in  “  Beside  the  Bonny  Brier  Bush  ’’  (Lasky). 

55.  Campden  St.,  Kensington,  W.8 

Tel.  :  Park  3623. 

HUGH  MILLER 

DISENGAGED. 

Corns.  :  Frank  Zeitlin, 

3,  Great  Windmill  Street,  W.L 

’Phone  :  Regent  6696. 

MILTON  ROSMER 

INVITES  IMMEDIATE  OFFERS. 

Forthcoming  Releases— 

“GENERAL  JOHN  REGAN’’  (Stoll) 

“  ROMANCE  OF  WASTDALE  ”  ,, 

“PASSIONATE  FRIENDS” 

“WOMAN  OF  NO  IMPORTANCE”  (Ideal) 
16,  WEYMOUTH  STREET,  W.l. 
’Phone  :  Langham  2243. 

ARTHUR  PUSEY. 

At  present  South  Africa 
Starring  in  “The  Blue  Lagoon”  for  I.V.T.A. 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 


THIS  SPACE  TO  LET 
17s.  6d.  for  13  insertions 


MARIE  AULT, 

Character  and  Comedy. 

235,  King's  Road,  Chelsea 


R.  LUCITA  SQUIER 

Scenarios  and  Originals.  Five  year-  with  Marshal 
Neilon  Productions  “PENROD.” 

Address  :  44,  Great  Russell  Street,  London,  W.C.2. 


THIS  SPACE  TO  LET 
£ 2  10  0  for  13  insertions 


Consult  .  .  . 

W.  CLARKSON. 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W, 

’Phone;  Gerrard  612. 


MARGARET 

HOPE, 

Character  &  Juvenile  Leads. 

Late  Ideal,  Masters,  Stolls, 
etc.,  etc. 

42,  Blandford  Square, 
Marylebone,  N.W.l. 
Phone:  Padd.  7411. 


SYBIL  JAMES. 

Juvenile  and  Character  Parts. 

Clo  MOTION  PICTURE  STUOI  O 


THELMA 

MURRAY 

Character  &  Emotional  parts 
Just  finished  work  in  “Crea¬ 
tion”  for  Raleigh  King  Films, 
now  playing  lead  for  Masters. 
All  coins  :  “LYNi'ALE.” 
OAKLEY  RD. 
WHYTELEAFE,  SURREY, 
or  to  the  Kinema  CluM 


2 


September  1 6,  1922 


THE  MOTION  PICTURE  STUDIO 


CAMERAMEN.  .  .  . 

JOHN  J.  COX 

“Four  Feathers,1’  ’’Broken  Road," 

“  Romance  oi  Wastdale,”  etc. 

LATEST: 

"  Dick  Turpin  "  for  Stoll  Picture  Productions,  Ltd  . 

44,  BVRROWGATE  ROAD,  CHISWICK.  W.4. 
’Phone — Chiswick  294, 

ALFRED  R  MOSER 

PREMIER  CAMERAMAN- 
:  SCIENTIFIC  OUTFIT.  : 
Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  Street,  W.C.2. 
’Phone — Regent  2131. 

L.  G.  E  G  R  OT 

EXPERT  CAMERAMAN. 

“  The  Better  ’Ole,”  etc.,  etc., . 

. “  The  Wonderful  Story.’ 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W.2. 

’Phone  :  Streatham  3085. 


JOHN  SALTER.  Estd.  1896 

Cameras — Projector  s—  Repairs. 

13,  Featherstone  Buildings,  Hotborn,  W.C. 
Pnone:  7408  Chancery. 


To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
SUPPLIED 

From  your  own  Photo,  in  best  glossy  style  : — 
One  position  17/6  per  gross. 

Two  positions  30/-  ,, 

Apply — 

PICTURES,  LTD.,  88,  Long  Acre,  W.C. 2. 


LEICHNERS 

WORLD 
RENOWNED 


George  K.  Arthur 
says : — 

“You  can’t  beat  it.” 


teint 

Uichugl 


Obtainable  from  all  Chemists 
and  Theatrical  Costumiers. 


If  any  difficulty  in  obt  ining 
same  apply  direct  to 

Sole  British  Agents : 

VANITIES  LTD., 
15a,  Whitcomb  St. 

(Off  Leicester  Sq.), 

W.C.2 


GREASE 
PAINTS 

&  POWDERS 


WHO’S  WHERE. 


Several  directors  have  explained  to  us 
tne  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 


“  'T'HE  most  useful  column,  to  my  mind, 
and  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  is  ‘Who’s 
Where.'  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful. 1  ’ — 
CHALLIS  N.  SANDERSON. 

“  T  PERSONALLY  would  like  to  see 
more  artistes  using  vour  s^ace  under 
the  heading  of  ‘  Who’s  Where.’  ”  — 

H.  B.  PARKINSON. 

“  'T’HE  column  which  is  of  most  service 
to  us,  and  which,  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  ”  — 
NORMAN  WALKER  (Capt.),  Alliance  Films, 


ATWOOD,  ALBAN :  25,  Stanley  Crescent 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.11.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercorn  P  ace  N  W. 
Hampstead  3U83 . 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

CAREW,  JAMES,  15  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3904 

CHESNEY,  ELIZABETH  :  c/o  Miss  Morris, 
25,  Clevedon  Gardens,  W.2.  (Flat  4). 
Padd.  5844. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
Redcliffe  Gardens,  S:W.  10.  ’Phone: 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.i  1.  Park  2077. 

ESMOND,  ANNIE :  43,  Richmond  Road, 
Westbomne  Grove,  W.2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.g. 

FANE,  DOROTHY :  12A,  Sloane  Gate 

Mansions,  S.W.  1.  Victoria  5225. 

GRACE,  ADELAIDE,  103,  Morshead  Man¬ 
si  ■'ns,  Maida  Vale,  W.9. 

GREGORY,  FRANK,  Character,  107,  St. 
Alban’s  Avenue,  W.4. 

HALLIDAY,  LENA,  14,  Fernwood  Avenue, 
Streatham,  S.W. 

HASTINGS,  WARREN,  5,  Pond  Place, 
Chelsea,  S.W. 3.  Western  7160. 

HOWARD,  LIONELLE:  108,  Alderbrook 
Road,  Ba  ham,  S.W. 12. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977. 


NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane. 
Camberwell,  S.E.5. 

RAYNER,  MINNIE:  Kingwater  Cottage, 
Churcti  Walk,  Thames  Ditton. 

ROME,  STEWART  :  io,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  all  corns.  Kinema  Club 
Regent  2131 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  62,  Upper 
Richmond  Road,  East  Putney,  S.W.  15. 
or  Kinema  Club. 

STEERMAN  A.  HARDING  :  56  Portland 
Road,  W.i  1.  Park  2529. 

STERROLL,  GERTRUDE  :  14.  Queen’s 

Road.  St.  John’s  Wood,  N.W. 8. 

TEMPLETON,  BEATRIX:  20,  Foxgl  ve 
St-eet,  Wormholt  Estale,  W.12. 

THATCHER,  GEORGE:  33.  Denbigh 
Street,  Belgrave  Road,  S.W.  Victoria 
2060. 

TREE,  MADGE:  15,  Lancaster  Court,  New- 
man  St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Road 
Barnes,  S.W. 13.  Putney  1945. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 

2131. 

WALCOTT,  ARTHUR:  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.  C  Regent  2131. 

Two  Lines,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a  year,  prepaid. 

Extra  lines ,  is.  per  insertion. 


SCENARISTS.  . 


GERALD  DE  BEAUREPAIRE. 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 
“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M'LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W  I. 

’Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  2131. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 

NOW  BACK  IN  LONDON. 


3 


THE  MOTION  PICTURE  STUDIO 


September  16.  1922 


THESE  ARE  HARD  LINES 


BUT  there  are  harder  lines  even 
than  these  that  surround  this 
page.  The  lines  of  many  a  film 
worker  have  not  fallen  in  pleasant 
places.  And  to-day  they  are  in 
desperate  straits.  This  fact  alone 
is  enough  to  prompt  those  who 
are  sympathetic — and  practical  in 
their  sympathy — to  do  all  that  is 
possible  to  meet  the  needs  of  rhe 
hour.  That  is  one  of  the  reasons 
that  prompted  us  to  reduce  the 
price  of  the  studio  worker’s  own 
professional  journal. 


Enclosed  is  half-a-crown . 
Put  me  on  your  mailing  list 
for  13  weeks. 

Name  . . . 

Address  . 


(New  Subscription  Rates: — 13 Weeks,  2/6, 
Six  Months,  5  /- ;  One  Year,  10/-  post  free.) 

93,  LONG  ACRE,  LONDON,  W.C.2 


Just  a  twist 
of  the  wrist 


and  you’ll  tear  this  corner 
of  the  page  off  —  sign 
it  and  post  at  once. 


J 


4 


September  16,  1922 


Editorial  and 
Advertise¬ 
ment  Offices 
93.  Long  Acre, 
London,  W.C.2. 


THE  MOTION  PICTURE  STUDIO 


Telegrams — 
Southernwood, 
Rand,  London. 
Telephone — 
Gerrard  9870. 


Sept.  16,  1922 


The  Corner-Stone. 

TT  has  been  stated  repeatedly  that  the 
A  story  is  the  vital  factor  of  the  film  ; 
that  the  literary  department  is  the  corner¬ 
stone  of  the  studio.  But  very  little  notice 
has  been  taken  of  this  fact,  and  the  average 
scenario  is  still  a  patchy,  scrappy,  incon¬ 
sequential  affair  and  is  so  poor  that  the 
poorest  director  attempts  to  improve  on  it 
when  he  commences  shooting  by  interpo¬ 
lating  all  kinds  of  irrelevant  scenes.  In 
fact  it  is  safe  to  assert  that  until  the  ever- 
increasing  army  of  scenarists  are  fully 
educated  in  their  particular  craft,  films 
will  not  improve  much  above  the  present 
standard.  It  is  for  this  reason  that  we 
draw  the  attention  of  the  many  half- 
fledged  scenarists  to  some  of  the  more 

important  facts  of  photoplay  writing. 

*  *  * 

Stick  to  Human  Nature. 
jV/jUCH  of  what  follows  ma.y  savour  of 
1VA  platitudes,  but  there  is  a  great  deal 
of  truth  even  in  platitudes.  In  the  first 
place  we  advise  scenarists  only  to  write 
about  that  which  they  know.  If  this 
advice  is  accepted  by  scenarists  there  will 
be  less  ink  and  paper  wasted  over  the 
impossible  doings  of  mythical  kingdoms, 
and  the  poor  downtrodden  folk  of  other 
planets.  Let  scenarists  stick  to  human 
nature — write  about  the  people  that  every¬ 
body  knows — evolve  plots  that  everybody 
thinks  could  be  feasible  in  their  own  lives — 
picturise  the  struggles,  triumphs,  hopes  and 
rears  of  real  flesh-and-blood  human  beings. 
Let  the  characters’  aims  and  motives  be 
recognisable  as  genuinely  human  aims  and 
motives.  Let  it  be  remembered  that  drama 
is  not  necessarily  physical  action.  More 
real  drama  can  be  obtained  from  a  mental 
and  spiritual  crisis,  when  the  naked  souls 
of  men  are  torn  by  the  claws  of  bitter 
circumstance,  than  from  a  dozen  physical 
conflicts. 

*  *  * 

Ring  True. 

PTURTHER,  we  would  advise  scenarists 
1  to,  above  all  things,  make  their 
stories  ring  true.  Let  the  characters 
convince  ;  let  the  plot  seem  feasible  ;  let 
the  movement  be  natural  and  clear  ;  let 
the  climax  be  (not  necessarily  the  expected) 
logical.  This  does  not  mean  that  a  story 
need  be  prosaic  or  dull  ;  or  that  its  char¬ 
acters  need  deport  themselves  with  funereal 
decorum  ;  or  that  it  need  follow  the  usual 
rut  of  film  stories  ;  or  that  the  heroine 
should  be  unnaturally  good,  or  the  villain 
impossibly  bad.  It  simply  means  that  the 
scenarist  should  exercise  three  faculties  ; 
imagination,  intelligence  and  common- 
sense — especially  common-sense. 


Americanised  Stuntism. 

J\JEWSPAPER  stuntism  is  as  perfectly 
correct  in  its  way  as  film-star 
publicity  is.  But  when  the  two  combine 
in  a  wrong  way  then  it  is  time  that  some 
straight  talking  and  straight  hitting  were 
indulged  in.  So  we  indulge.  The  objects 
are  the  Talmadge  girls  and  the  Daily  Sketch. 
The  former,  in  the  latter,  state  that  they 
are  going  to  find  an  inexperienced  girl  and 
make  her  into  a  British  star  ;  she  will  be 
taken  to  Pans  and  rigged  out  in  the  best 
gowns  getable  ;  and  then  exported  to 
America  to  work  in  the  Talmadge  films. 


When  you’re  right  up 
against  it  your  only  hope 
is  hope. 

When  failure  con¬ 
fronts  you  and  disaster 
faces  you  a  reasonable 
hope  is  the  only  support 
in  the  storm.  Hope 
may  not  always  cure  the 
disease  but  it  will  make 
the  medicine  taste  less 
bitter. 

If  Keep  hoping  — even  a 
man  when  he  is  hanging 
hopes  that  the  rope  will 
break. 

Of  course  it’s  all  a  stunt  ;  but  we  object  to 
Americans  coming  over  here  and  running  a 
personal  publicity  stunt  at  the  expense 
of  British  film  artistes.  If  the  Talmadge 
girls  want  to  find  a  British  star  we  can  intro¬ 
duce  them  to  a  dozen  who  possess  all  the 
best  elements  of  stardom,  but  who  now  do 
not  know  what  one  square  meal  a  day  is. 
Norma  says  that  she  can  see  British  stars 
“  in  the  streets  wherever  I  walk  through 
London.  I  see  them  in  the  shops  behind 
the  counters.”  The  British  film  industry 
congratulates  Norma  on  her  keen  sense  of 
perception^— her  only  trouble  is  that  she  is 
wearing  long-distance  glasses  :  if  she 
discards  these  she  will  see  British  stars  much 
nearer  home — in  the  studios.  This  stunt 
is  merely  playing  to  the  gallery  ;  it  will  only 
swell  the  ranks  of  the  optimistic  screen- 
struck,  who  can  only  help  take  the  bread 
from  professional  artistes.  If  this  is 
American  publicity,  thank  heaven  we  re 
British. 


Distress  in  the  Studio. 

|F  Miss  Talmadge  thinks  that  this 
journal  has  a  bias  in  favour  of  British 
artistes  and  would  naturally  overstate  the 
case,  we  invite  A.  Jympson  Harman  of  the 
Evening  News  to  record  the  result  of  his 
investigations.  He  says  that  “  players  who 
took  leading  parts  in  the  past  have  been 
walking  the  streets  starving.”  He  tells  of 
a  once  popular  actor  who  collapsed  in  a 
West  End  street  a  little  while  ago  ”  ;  the 
collapse  being  due  to  hunger.  He  states 
that  70  per  cent,  of  British  artistes  are 
unemployed.  And  we  could  tell  of  artistes 
who  have  sold  up  their  homes  little  by  little 
and  of  one  who  has  laid  in  a  little  bottle  of 
prussic  acid  against  the  time  when  he  feels 
that  the  fight  is  lost.  Now,  Miss  Norma,  is 
your  chance — don’t  bring  shop  assistants 
into  the  studios  ;  help  those  already  in. 


Professional  Unity. 

A  S  we  go  to  press  there  is  a  fresh  crisis 
in  the  theatrical  world,  and  Henry 
Oscar  tells  of  the  possibility  of  the 
theatres  closing  down.  We  are  among 
those  who  can  see  a  very  intimate  associa¬ 
tion  between  the  studio  and  the  stage,  and 
therefore  this  crisis  must  re-act  on  film 
players.  The  position  now  is  that  the  A.A. 
is  in  favour  of  federating  with  the  V.A.F., 
the  Musicians’  Union,  and  the  National 
Association  of  Theatrical  Employees.  In 
other  words  a  co-ordination  of  all  the 
workers  in  the  theatre — “a  group  for¬ 
midable  enough  to  close  every  theatre  in 
a  night,”  says  Henry  Oscar.  It  may  be 
that  film  players  will  say  that  this  is  a 
stage  quarrel ;  but  it  is  more  significant 
than  that :  it  is  proof  of  the  urgent 
necessity  of  a  Film  Artistes’  Federation. 
If  there  were  such  an  organisation  it  would 
probably  federate  with  the  above-mentioned 
associations,  thus  proving  the  intimate 
connection  that  this  profession  has  with 
the  stage.  Our  argument,  then,  is  that  if 
the  stage  has  found  the  necessity  for  the 
A.A.  and  the  Music  Halls  for  the  V.A.F., 
it  is  obvious  that  the  film  artistes  stand  in 
urgent  need  of  a  Federation.  Whether  it 
should  be  a  Special  Branch  of  the  A.A.  we 
are  not  yet  prepared  to  say,  although  the 
interchange  of  film  and  stage  artistes  is 
very  eloquent  on  this  matter.  At  any  rate 
it  is  to  be  sincerely  hoped  that  should  the 
A.A.  call  its  members  out  no  film 
artiste  will  be  guilty  of  betraying  their 
fellow-craftsmen  by  helping  the  managers 
to  open  and  so  defeating  the  rightful 
policy  of  the  A.A. 


5 


THE  MOTION  PICTURE  STUDIO 


September  16,  1922 


BOOST  BRITAIN 

RECENTLY  we  referred  to  the  new  game  of  discussing  the  question  “  What  is 
Wrong  with  British  Productions  ?  ”  And  the  game  is  now  being  played 
right  merrily.  But  we  are  of  the  opinion  that  the  position  is  far  too  serious  to  persist 
in  regarding  this  as  a  game  ;  discussions  are  now  being  overdone — it  is  time  for  action . 
In  the  past  the  tendency  has  been  for  the  Trade  to  strain  itself  in  an  endeavour  to 
find  some  excuse  for  the  inferiority  of  British  pictures  ;  in  fact,  even  yet  some 
people  are  still  trotting  out  the  miserable  threadbare  excuse  that  the  war  knocked 
the  stuffing  out  of  British  production  and  allowed  the  Americans  to  forge  ahead. 
Do  these  people  not  know  that  the  war  knocked  the  stuffing  out  of  other  British 
industries,  which  have,  however,  during  the  four  years  since  the  Armistice  worked 
hard  and  seriously  until  they  have  not  only  caught  up  the  arrears  but  have  forged 
ahead  of  America?  Why  not  the  film  Industry  ? 

THEN  there  has  been  the  other  class  who  have  contented  themselves  with 
decrying  the  American  output  and  thanking  high  Heaven  that  British  films 
are  not  so  decadent.  This,  again,  is  a  hopelessly  illogical  attitude.  It  is  a  poor 
competitor  whose  only  method  of  competition  is  to  kick  the  other  man’s  wares. 
As  a  matter  of  strict  fact,  American  films  have  been  in  certain  respects  superior  to 
British.  What  the  wise  men  in  the  British  Industry  have  done  has  been  earnestly 
to  study  the  best  points  of  American  productions,  and  Swedish  productions,  and 
Italian  productions,  and  absorb  the  best  that  is  in  all  these  for  the  good  of  British 
films.  American  technique,  Swedish  artistry,  Italian  psychology,  have  all  been 
utilised  for  the  improvement  of  British  films.  This  is  as  it  should  be.  There  is 
no  magical  solution  of  the  problem  of  comparative  film  values.  Certainly,  the 
policy  of  kicking  American  films  because  they  are  American,  will  not  achieve  the 
solution  either.  The  British  film  Industry  has  to  convince  the  world  that  it  can  and 
does  make  good  quality  films. 


"WYE  want  it  to  go  forth  as  our  considered  attitude  that  this  country  not  only 
can  in  the  future,  and  given  favourable  conditions,  but  has  in  the  past 
(and  is,  in  the  present)  and  in  face  of  adverse  circumstances,  made  good  quality 
films  able  to  compete  with  American  films  in  all  the  markets  of  the  world.  For 
a  long  time  past  now  the  parrot-cry  has  gone  forth  :  “  We  can  make  good  films.” 

The  Motion  Picture  Studio  goes  further  and  says  :  “  We  have  made  and  are 

making  good  films.”  In  our  opinion  what  is  wrong  is  our  natural  conservatism. 
America  makes  a  good  film  and  tells  the  world.  Britain  makes  a  good  film  and  sits 

down  to  wait  for  the  world  to  find  it  out.  There  is  the  essential  difference. 

While  still  reserving  our  right  to  criticise  bad  British  films  and  spur  the  British 
Industry  on  to  better  things,  this  journal  pledges  itself  to  be  the  Publicity  Agent  of 

the  British  film  Industry.  That  becomes  our  function  in  the  future.  We  mean  to 

publicise  British  films.  We  are  initiating  a  Propaganda  Campaign  to  bring  before 
the  public  of  the  world  those  excellent  films — few  though  they  may  be,  as  yet,  in  num¬ 
ber — which  this  country  has  produced.  We  are  out  to  Boost  Britain. 

IWIATERIAL  for  this  lies  ready  at  hand.  This  is  the  psychological  moment  to  com- 
■1V1  mence  a  Propaganda  Campaign — there  are  plenty  of  talking 'points.  And  in 
the  course  of  the  next  six  months  we  have  scheduled  to  bring  out  at  least  two  special 
propaganda  issues  with  which  to  back  up  this  campaign  :  a  Propaganda  Number 
for  America  and  another,  much  of  the  matter  being  printed  in  the  languages  of  the 
countries,  being  a  Propaganda  Number  for  the  Continent.  These  Special  Issues 
will  be  based  on  the  following  facts  : — One  :  The  picture-goers  of  the  world  are 
tired  of  American  films  and  are  genuinely  eager  for  British  ones.  This  fact  is 
testified  to  by  all  the  most  prominent  film  magnates  of  America  ;  the  latest,  Mr. 
Schenck,  husband  of  Norma  Talmadge,  stated  that  the  American  market  is  waiting 
for  good  British  films.  Two  :  This  country  has  proved  its  capacity  for  making  films 
which  are  not  only  good  British  productions  but  possess  that  quality  which  makes 
them  popular  in  America.  “  A  Woman  of  No  Importance  ”  has  created  a  furore 
in  the  States,  and  other  films  that  have  been  well  received  by  the  American  market 
include  The  Bigamist,”  “  Persistent  Lovers,”  “  Carnival,”  “  Glorious  Adventure,” 
Squibs  ”  (as  “  Me  and  My  Gal  ”),  the  Sherlock  Holmes  series,  “  Alf’s  Button,” 
"Demos,”  “Sonia,”  “Monty  Works  the  Wires,”  “The  Better  ’Ole,”  “Garden  of 
Resurrection,”  and  “  Duke’s  Son.”  Already  there  is  quite  an  appreciable  following 
for  certain  British  stars  among  the  American  picture-goers. 

I  '  HESE  facts  strengthen  us  in  our  conviction  that  this  is  the  right  moment  to 
press  the  rightful  claims  of  British  films  on  the  picture-goers  of  the  world. 
1  o  this  end  we  are  arranging  to  keep  the  American  and  Continental  Trade  papers 
supplied  with  authentic  news  of  the  progress  of  the  British  Industry  and  the  various 
films,  the  quality  of  which  merit  their  reception  by  the  markets  of  the  world.  We 
are  out  to  Boost  Britain. 

Note. — A  further  important  article  on  this  subject  next  week.  Mean¬ 
while  it  is  of  the  utmost  importance  that  our  readers  assure  us  of 
their  whole-hearted  support  to  the  scheme. 


DRIVEL 

PICTURES 

|  F  it  be  true  that  the  public  gets  the  pic- 
*  ture  plays  it  deserves,  then  it  must, 
once  upon  a  time,  have  committed  a  crime 
unspeakably  heinous.  For  the  films  which 
are  shown  on  Monday,  to  disappear  on 
Thursday,  to  be  followed  by  another  from 
Thursday  to  Saturday,  with  an  extra  one 
thrown  in  on  Sunday,  are  like  nothing  so 
much  as  a  bi-weekly  tide  of  utter  drivel 
the  like  of  which  has  not  been  seen  on 
earth  since  penny  novelettes  had  a  “record 
circulation.  ”  Either  the  mentality  of  the 
public  must  be  extraordinarily  low,  and 
they  are  indifferent  to  what  is  offered  to 
them,  or  the  mind  which  conceives  these 
stupid  pictures  cannot  soar  much  beyond 
the  imagination  of  the  damsel  whose 
natural  metier  is  the  wash-tub.  Their  plots 
rarely  rise  above  the  dead-level  of  stupidity; 
they  are  inartistically  produced  and  atroci¬ 
ously  acted.  Los  Angeles  grinds  them  out 
like  chaff  out  of  a  mill,  and  England  tries 
its  best  to  reproduce  most  of  their  worst 
faults  while  adding  one  or  two  of  its  very 
own,  including  pictures  mostly  in  bright 
red  and  green  called  “colour  photography.” 
For  this,  alas !  is  the  description  of  the 
average  picture  play — an  unreal  and  utterly 
machine-made  story,  psychology  of  the  most 
primitive  description,  and  acting  so  purely 
artificial  and  exaggerated  that  I  have  rarely 
known  the  most  tragic  moment  to  raise 
anything  other  than  a  laugh.  And  oh,  the 
weariness  of  the  film  stage  conventions, 
with  their  tiresome  exaggeration  of  simple 
gestures;  that  exhibition  of  devastating 
“archness  ”  under  the  mistaken  notion  that 
it  is  “charm”;  the  stereotyped  groupings; 
the  utter  lack  of  anything  resembling 
poetical  insight  or  romance,  or  any  other 
sentiment  than  that  which  can  be  thrown 
at  the  on-looker  in  splashes  of  concentrated 
saccharine.  And  that  film  face,  about 
which  we  hear  such  a  lot  1  It  is  so  nearly 
reproduced  by  every  character  that  it  is 
sometimes  difficult  to  tell  the  heroine  from 
the  villainess  when  once  she  has  changed 
her  clothes.  And  why  is  it  necessary  for 
every  character  to  possess  eyes  which  look 
as  if  they  had  been  deliberately  blackened 
(as,  indeed,  they  have),  and  lips  which 
seem  to  have  just  finished  sucking  a  pound 
of  blackberries?  It  is  all  so  crude  and 
so  inartistic,  and  there  are  no  compensa¬ 
tions  in  the  way  of  any  intellectual  interest 
or  spontaneous  humour  to  make  up  for 
their  crudity.  And  yet  a  visit  to  a 
picture  palace  has  certain  compensations. 
The  “interest,”  and  “travel,”  and  “Nature” 
films  are  delightful.  The  comic  ones  are 
quite  amusing,  since  they  do  not  want  to 
be  taken  seriously.  Pathe’s  Gazette,  the 
Eve  Pictorial,  and  some  others,  all  interest 
as  well  as  entertain.  It  is  by  these  films 
alone  that  the  kinema  continues  to  be 
popular  and  live.  An  immediate  cloud  of 
boredom  arises  when  once  the  “big  pic¬ 
ture  ”  of  the  show  is  thrown  upon  the 
screen.  Taking  the  average  of  the  year,  I 
think  that  I  visit  a  kinema  twice  a'  week, 
and  I  never  find  that  these  long  pictures 
get  even  a  modicum  of  applause.  Certain 
ones  do,  as,  for  example,  those  which  often 
star  ”  _  nobody,  but  are  so  artistic  and 
convincing  that  kinema  managers  mostly 
will  not  look  at  them.  But  the  rest  are 
merely  accepted  in  silence — endured  for 
what  comes  in  between,  and  for  the  com¬ 
fort  and  cosiness  of  the  theatre  itself,  as 
well  as  for  the  cheap  rate  of  admission. 
By  these  things  alone  I  am  convinced  that 
the  average  picture  palace  lives.  The  public 
is  getting  tired  of  what  is  nothing  other 
than  “film  tosh.” — The  Tatler. 


* 


6 


September  16,  1922 


rHE  MOTION  PICTURE  STUDIO 


Inti-maTie  Studio  Qossip 


I  am  informed  that  “  The  Crimson 
Circle  ”  has  been  taken  under  the 
wing-  of  the  British  National  Film 
League,  and  will  be  Trade  shown  on 
October  5.  I  saw  it  myself  last  week 
and  quite  enjoyed  it. 

'\\rhich  reminds  me  that  Georg-e  Ridg- 
well  showed  me  a  letter  he  has 
just  received  from  Alfred  H.  Moses, 
who  is  now  shooting  scenes  in  Ireland 
for  an  Irish  company.  A1  piquantly 
says  that  when  he  gets  back  to  Eng¬ 
land  he  will  have  a  job  getting  to 
sleep  without  the  lullaby  of  the  bullets 
to  which  he  has  now  become  accus¬ 
tomed.  I  suggest  that  he  gets  the  next 
flat  to  Malcolm  Tod,  the  club  trap- 
drummer. 

“  By  the  way,  I  feel  I  must  add 
my  Rumble  appreciation  of  the 
‘  Motion  Picture  Studio  ’  in  its 
new  form  at  twopence.  How  you 
manage  to  publish  such  a  journal 
at  the  price  I  simply  can’t  think. 
You  deserve  all  the  success  pos¬ 
sible.” — F.  Rupert  Crew. 

Tfarry  Worth  is  the  latest  to  write  me 
from  the  Welsh-Pearson  camp. 
He  says  :  “We  are  having  a  good  time 
and  plenty  of  everything,  including 
fresh  air  and  work.”  Harry,  by  the 
way,  was  one  of  the  artistes  that  Mar¬ 
tin  Thornton  booked  direct,  and  not 
through  Brarnlins. 

(Jongratulations  to  George  K. 

Arthur,  who  is  co-starring  with 
Melba:  Lloyd  in  a  super-production,  en¬ 
titled  “  Hew  to  be  Happy  and  Mar¬ 
ried.”  They  signed  a  contract  last 
Monday  at  Holy  Trinity,  Marylebone. 
Congrats,  to  both  the  happy  parties ! 

jM>rie  Ault,  whose  name  has  been  so- 
much  paragraphed  this  week  for 
her  wonderful  character  performance 
as  the  Amah  in  “  East  of  Suez  ”  at 
His  Majesty’s  Theatre,  is  a  film  actress 
whose  gifts  became  conspicuous  with 
her  fine  portrayal  of  the  role  of  Inzer 
Ann  in  Gaumont’s  “Class  and  No 
Class.”  So  impressed  was  Gaumont 
that  it  gave  her  another  nice  character 
role  as  Lord  Byron’s  nurse  in  “  A 
Prince  of  Lovers.”  It  was  unfortunate 
that  through  the  exigencies  of  length 
(the  director’s  bogie)  a  great  deal  of 
her  very  effective  work  in  this  role  had 
to  be  cut  out.  She  also  has  a  part 
in  “  Rob  Roy.”  It  is  a  very  small 


part — in  fact,  she  only  appears  in  one 
scene — but  it  calls  for  the  “  putting- 
over  ”  of  a  clever  bit  of  business. 
Hence  the  call  for  Miss  Aulr.  You 
may  not  see  Marie’s  name  in  the  cast 
of  “  Rob  Roy,”  but  when  you  see  the 
picture  notice  the  old  lady  who  takes 
a  pinch  of  snuff  with  such  disastrous 
and  disturbing  effects  on  all  the  dust 
in  the  vicinity — that  is  Marie  Ault, 
engaged  to  do  just  one  sneezing  duet 
with  “  Rob  Rov.”  That  engagement 
is  an  eloquent  tribute  to-  her  clever¬ 
ness,  in  my  opinion. 


sional  experienced  artistes  are  unem¬ 
ployed,  and  many  are  literally  starving. 
Will  this  prec’ous  “  academy  ”  place 
this  fact  before  the  students? 

^  spent  some  hours  at  the  Cattord 
studio  last  Saturday  watching  Fred 
Le  Roy  Granville  direct  the  final  scenes 
in  “  Shifting  Sands.”  But  what  Wal¬ 
ter  Blakeley,  “  Granny’s  ”  chief 
cameraman,  was  trying  to  do  was  to 
direct  the.  final  rays  of  a  shifting  sun, 
which  would  persist  in  coming  from 
behind  the  clouds  just  as  Walter  was 


TJnder  the  heading  of  the  Amateur 
Film  Production  Academy,  Ltd., 
a  company  has  been  registered  with  a 
capital  of  ^2,000,  the  object  of  which 
is  “to  form  an  academy  for  persons 
acting  or  learning  to’  act  for  kinemato- 
grapih  films.”  The  permanent  directors 
are  H.  M.  Herbert  and  W.  Edelstein,  | 
and  the  registered  office  is  3  and  4, 
Little  Denmark  Street,  W.  But  ac¬ 
cording  to  our  “  Focus  ”  article  this 
week,  seventy  per  cent,  of  the  profes- 


TRADE  SHOW 
GUIDE 

lyTANNING  HAYNES,  who  is  directing 
for  Artistic  Films,  has  now  completed 
“A  Skipper’s  Wooing,” 
which  is  an  adaptation  of  W.  W.  Jacobs’ 
novel  of  the  same  title. 

Gordon  Hopkirk  has  the  leading  role  as 
the  Skipper,  and  is  supported  by  Johnnie 
Butt,  Bobbie  Rudd,  Jeff  Barlow  and  May 
Price. 

Lydia  Hayward  is  responsible  for  the 
scenario  and  Frank  Grainger  for  the  photo¬ 
graphy. 

Trade  Show:  Tuesday,  September  19,  at 
the  New  Gallery  Kinema,  at  11.30  a.m. 

\  NOTHER  sporting  drama  has  been  com- 
pleted  by  Arthur  Rooke,  at  the  David¬ 
son  Studio,  Walthamstow:  — 

“A  Sporting  Instinct.” 

Lilian  Douglas  and  J.  R.  Tozer  are  the 
featured  players,  while  the  supports  include 
Tom  Coventry,  Vivian  Gusnel,  Howard  K. 
Symons,  Somers  Bellamy,  Billie  Vernon, 
Mickie  Brantford  and  Hetty  Chapman. 

Trade  Show:  Thursday,  September  21, 
at  the  New  Gallery  Kinema,  at  11  a.m. 


"DRITISH  Super  Films  new  five-reefer  is 
an  adaptation  of  Edward  Percy’s  play, 
“If  Four  Walls  Told.” 

Fred  Paul,  besides  directing  the  film, 
plays  a  dual  role. 

Lilian  Hall  Davies  is  the  star,  and  is  sup¬ 
ported  by  Campbell  Gullen,  'Minna  Grey, 
Marie  Ault  and  Polly  Emery. 

Trade  Show:  Thursday,  September  21, 
at  the  Shaftesbury  Pavilion,  at  n  a.m. 


Last  week  Motion  Picture  Studio  wire¬ 
lessed  its  congratulations  to  Mercy  Hatton 
and  her  husband.  They  are  seen  at 
Datchelt  listening  in. 

about  to  turn,  and  throwing  shadows 
on  the  set.  So  in  the  end  a  corps  of 
signallers  was  enrolled  to  flash  the 
prospects  of  the  sun’s  funeral  behind 
the  clouds  to  the  waiting  cameraman. 
By  the  way,  Granville  wants  me  speci¬ 
fically  to  state  that  Walter  Blakeley  is 
the  chief  cameraman  on  this  picture, 
and  his  great  experience  and  pains¬ 
taking  care  have  been  of  the  greatest 
possible  assistance  to  him.  I  can  cor¬ 
roborate  this  from  my  own  personal 
observation. 


Qne  of  the  successes  in  “AGipsyCava- 
lier  ”  is  A.  B.  Imeson,  but  through 
some  unfortunate  error  his  name  was 
omitted  from  the  synopsis  and  the  part 
ascribed  to’  someone  else.  A.  B.  is 
now  playing  for  Tom  Terriss  in  “Har¬ 
bour  Lights.”  Furthermore,  rumour 
has  it  that  he  gave  Alec  Hunter  93  in 
a  100  and  left  him  standing  at  the 
I  post. 

/\aJU2 


7 


THE  MOTION  PICTURE  STUDIO 


September  16,  1922 


MARIE  AULT  (1  film) 

NINA  BOUCICAULT 
MLLE.  DACIA 
LILIAN  DOUGLAS 
ISOBEL  ELSOM  (3  films) 
MILDRED  EVELYN  (1  film) 
DOROTHY  FANE 
MARGARET  HALSTAN  „ 
AGATHA  KENTISH 
MAE  MARSH  (2  films) 

MARGARET  MARSH  (1  film) 
EVA  MOORE 
CATHLEEN  NESBITT 
MARY  ODETTE 
ZOE  PALMER  (2  films) 

MARY  RORKE  (2  films) 

FLORENCE  TURNER  (1  film) 
MLLE.  VALIA 
HENRIETTA  WATSON  „ 
HAIDEE  WRIGHT 
MARIE  WRIGHT 
G.  K.  ARTHUR  (2  films) 

ALLAN  AYNESWORTH  (1  film) 

SOMERS  BELLAMY 


Jlckwk 

Li 

Kineitia  JTrti 

IMPORTANT  A 

Sidney  Jay  wishes  t< 
that  he  has  remc 

Suite  13,  Pi 

128-132,  Shaftesbi 

As  from  Septe 

Sidney  Jay  is  now  in  a  positit 
recognised  leading  artistes  wi 
Company  in  Europe  and  Ar 

Herewith  is  appended  a  selec 
artistes  who  have  secured  engaji 
the  past  three  months. 

=  -  ~ 

NO  CHANGE  IN 

A  Regent  4329. 

Telephones:  I  .  ,,  5326, 

NIGHT.  Hampstead  831 1. 


September  16,  1922 

THE  MOTION  PICTURE  STUDIO 

tes  JJgency 

MNOUNCEMENT. 


advise  his  clientele 
■ed  his  offices  to 

lace  House, 


ry  A 


venue 


,  w.i 


iber  16,  1922. 


i  to  negotiate  engagements  for 
i  practically  every  producing 


xica. 


3n  of  some  of  the  well-known 
ments  through  this  office  during 


TELEPHONE  Nos. 

Telegraphic  Address  : 

"  JAYSARTAG,  WESTCENT,  LONDON.” 


(i  film) 
(3  films) 
(1  film) 
(2  films) 


CLIVE  BROOK 
CYRIL  DANE 
REX  DAVIS 
DARBY  FOSTER 
GIBSON  GOWLAND  (1  film) 
C.  M.  HALLARD 
LIONELLE  HOWARD  „ 
OLAF  HYTTEN 
MALCOLM  KEEN 
JAMES  KNIGHT 
MATHESON  LANG 
ERIC  LEWIS 
LAUDERDALE  MAITLAND 
TOM  MOORE  (2  films) 

A.  G.  POULTON  (1  film) 
JULIAN  ROYCE 
AUBREY  SMITH 
WYNDHAM  STANDING  „ 
SIMEON  STUART 
JOHN  STUART 
J.  R.  TOZER 
ROY  TRAVERS 
HENRY  VIBART  (2  films) 
LEWIS  WILLOUGHBY  (1  film) 


y ; 


yy 


yy 


9 


THE  MOTION  PICTURE  STUDIO 


September  16,  1922 


ZoAsAo, 


tfiay  -asm  cured  — - 

;  Aczt  thaX{  cxAn  -ciovrvq 


Manning  Haynes  is  to  direct  “Dialstone 
Lane,  ”  for  Artistic. 

Oscar  Apfel  is  directing  “The  Lion’s 
Mouse,”  for  Granger-Binger. 

Jeff  Barlow  has  been  playing  for  Masters 
in  “Won  by  Warr, ”  a  one-reeler. 

Marguerite  Marsh  is  to  play  for  Granger- 
Binger  in  “The  Lion’s  Mouse.” 

Billy  Ewins  has  been  playing  for  Masters 
in  the  new  one-reel  Rugby  film. 

Wilfred  Noy  is  directing  the  new  Progress 
picture,  “Against  Fearful  Odds.” 

Mavis  Clare  has  been  chosen  to  star  in 
“Facing  Fearful  Odds,”  for  Progress. 

Gordon  Hopkirk  will  be  seen  in  the  new 
Master  subject,  “Playing  the  Game.” 

Stanley  Mumford  is  photographing 
“Against  Fearful  Odds,”  for  Progress. 

Gladys  Jennings  is  playing  in  the  new 
Progress  film,  “Against  Fearful  Odds.” 

Bert  Haldane  has  completed  the  direction 
of  “Gipsy  Blood,”  for  Daisy  Productions. 

Adeline  Hayden  Coffin  has  been  playing 
for  Stoll  as  the  mother  in  “The  Prodigal 
Son.  ”  s 

Lydia  Hayward  is  responsible  for  the 
scenario  of  the  new  Artistic  film,  “Dialstone 
Lane.  ” 

Madame  d’Esterre  has  been  engaged  to 
play  in  Sinclair  Hill’s  Stoll  production, 
“Petticoat  Loose.” 

Tom  Coventry  was  engaged  through  Jay’s 
Agency  for  Grahame  Wilcox  in  “Paddy  the 
Next  Best  Thing.” 

Juliette  Compton  was  fixed  to  appear  in 
“  The  Lion’s  Mouse,  ”  for  Granger-Binger 
through  Jay’s  Agency. 

Gregory  Scott  is  now  solely  represented 
by  Maitt  and  Myers,  of  Anglo  House,  Litch¬ 
field  Street,  W.C.2. 

Catherine  Calvert  was  secured  through 
Maitt  and  Myers’  Agency  to  play  for  Masters 
in  “The  Green  Caravan.” 

Mildred  Evelyn  is  playing  for  Grahame 
Wilcox  Productions  in  “Paddv  the  Next 
Best  Thing  ”  (Jay’s  booking). 

Darby  Foster  is  playing  for  Grahame 
Wilcox  Productions  in  “Paddy  the  Next 
Best  Thing  ”  (Jay’s  booking). 

Judd  Green  is  in  Penzance  on  location 
with  Tom  Terriss  in  the  new  Ideal  pro¬ 
duction,  “The  Harbour  Lights.” 

George  Harris  has  been  playing  the  part 
of  the  naval  captain  in  Thomas  Bentley’s 
Ideal  production,  “Green  Sea  Island.” 

Marie  Wright  was  engaged  through  Jay’s 
Agency  to  play  in  “Paddy  the  Next  Best 
Thing,  ”  for  Grahame  Wilcox  Productions. 

Lilian  Douglas  was  engaged  through  Jay’s 
Agency  to  play  for  Grahame  Wilcox  Pro¬ 
ductions  in  “Paddy  the  Next  Best  Thing.” 

Margaret  Hope  has  been  appearing  for 
Stoll  in  “Petticoat  Loose,”  and  has  now 
arranged  to  play  for  Masters  in  “A  Gamble 
with  Hearts.” 


Bertram  Burleigh  appears  in  the  leading 
role  in  “Won  by  Warr,”  for  Masters. 

Frank  Zeitlin’s  Agepcy  is  solely  repre¬ 
senting  the  American  film  star,  Catherine 
Calvert. 

Marie  Ault  was  engaged  through  Jay’s 
Agency  to  play  in  “Paddy  the  Next  Best 
Thing,”  the  new  Grahame  Wilcox  produc¬ 
tion. 

Nina  Boucicault  was  engaged  through 
Jay’s  Agency  to  play  in  “Paddy  the  Next 
Best  Thing,”  for  Grahame  Wilcox  Produc¬ 
tions. 

Edwin  J.  Collins  has  been  directing  “Won 
by  Warr,”  for  Masters,  and  is  to  start  work 
on  a  five-reeler,  “The  Green  Caravan,”  fea¬ 
turing  Catherine  Calvert,  in  a  fortnight’s 
time. 

INFORMATION 

BUREAU 

This  feature  is  being  devoted  to  supplying 
information  to  our  readers  which  they  can 
obtain  at  no  other  source.  TFe  are  re¬ 
peatedly  hearing  from,  people  who ,  in  their 
ignorance  of  the  true  facts  relating  to  the 
Film  Industry  and  the  people  engaged  in 
it,  have  rushed  in  where  angels  would 
fear  to  tread.  Thanks  to  our  association 
with  the  “  Kinematograph  Weekly  ”  we  are 
in  a  unique  position  for  advising  readers. 
The  use  of  this  service  is  absolutely  free, 
and  all  inquiries  will  be  treated  in  strictest 
confidence. 

Mrs.  K.  L.  (Balham).— The  idea  you  send 
seems  a  good  one.  There  is  a  certain 
market  for  advertising  films.  Approach 
Baron  Hartley,  81,  Shaftesbury  Avenue, 
with  it. 

John  R.  (Colchester). — We  sympathise  with 
you  in  your  affliction,  but  are  of  the  opinion 
that  Fine,  camera  work  would  be  exceed¬ 
ingly  difficult  for  a  man  without  eyesight. 

H.  J.  C.  (Liverpool). — No,  do  not  invest 
in  that  production.  The  firm  in  question 
is  far  from  reputable. 

Violet  D.  (Sheringham). — The  best  way 
to  get  “on  the  pictures”  is  to  start  in 
crowd  work  at  some  studio.  We  warn  you 
that  the  profession  is  now  hopelessly  over¬ 
crowded  and  you  would  be  wiser  not  to 
try  to  compete  with  experienced  artistes. 

Chas.  R. — Yes,  you  are  right.  Ideal  is  a 
very  reputable  firm  and  would  not  retain 
your  scenario  unnecessarily.  Wait  a  little 
longer  and  then  send  a  polite  reminder. 

_  Chas.  W.  (W.2.). — Thanks  for  congratula¬ 
tions.  Cannot  print  your  article — it  looks  as 
if  it  ought  to  go  in  our  advertisement  pages. 

W.  R.  F.  (N.W.2. ). — Your  complaints  of  the 
W.-P.  Camp  seem  to  come  from  a  badly 
disgruntled  mind.  Our  information  of  the 
Camp  is  all  to  the  contrary. 

Miss  L.  (N.W.5.). — If  that  company  does 
not  return  your  MS.,  send  a  solicitor’s  letter. 
You  were  unwise  to  let  them  have  it— they 
are  the  worst  type  of  film  crooksters. 

M.F.A.  (Marble  Arch). — The  company  in 
question  is  one  of  the  very  minor  film  con¬ 
cerns,  and  you  will  be  ill  advised  in  having 
any  connection  with  it. 

L.  F.  (Windsor).— -Yes,  the  Halifax  School 
of  Photoplay  Writing  is  a  sound  concern 
and  its  system  should  be  of  assistance  to 
you. 

Wilfred  W.  (Enfield). — Have  nothing  to 
do  with  the  “school  ”  in  question.  It  is 
bogus. 


Mae  Marsh  is  to  play  for  Grahame  Wilcox 
in  “Paddy  the  Next  Best  Thing.” 

Wyndham  Standing  is  playing  for  Granger- 
Binger  in  “The  Lion’s  Mouse.” 

George  Ridgwell  is  starting  work  on  a 
new  historical  subject  for  B.  and  C. 

Simeon  Stuart  is  to  appear  in  Grahame 
Wilcox’s  “Paddy  the  Next  Best  Thing.” 

Rex  Davis  is  going  to  Holland  to  play  in 
“The  Lion’s  Mouse,”  for  Granger-Binger. 

Sinclair  Hill  is  working  on  the  exteriors 
of  “Petticoat  Loose,”  in  Cornwall,  for  Stoll. 

A.  E,  Coleby  is  going  to  France  to  film 
the  exteriors  of  “The  Prodigal  Son,”  for 
Stoll. 


Gibson  Gowland  is  with  Ideal  in  Tom 
Terriss’s  production  of  “The  Harbour 
Lights.  ” 

A.  B.  Imeson  is  to  play  in  Tom  Terriss’s 
new  Ideal  production,  “The  Harbour 
Lights.  ” 

Mary  Rorke  is  playing  for  Ideal  in  Tom 
Terriss’s  new  production,  “The  Harbour 
Lights.” 

Edward  Jose  is  to  direct  “God’s  Prodigal,” 
for  International  Artistes,  at  Gaumont’s 
studio. 

Maurice  Elvey  is  working  on  the  script  of 
“Top  of  the  World,”  his  next  production 
for  Stoll. 

Lydia  Hayward  is  writing  the  scenario  of 
the  new  Artistic  W.  W.  Jacobs  film,  “Dial¬ 
stone  Lane.” 

Haidee  Wright  is  to  play  for  Grahame 
Wilcox  Productions  in  “Paddy  the  Next 
Best  Thing.” 

* 

Edward  Jose  is  casting  for  “God’s 
Prodigal,”  his  next  production  for  Inter¬ 
national  Artists. 

Fay  Compton  is  to  play  lead  in  '-'This 
Freedom,”  the  next  Denison  Clift  Produc¬ 
tion  for’  Ideal. 

Gerald  McCarthy  is  with  Ideal  playing  in 
Tom  Terriss’s  new  production,  “The  Har 
bour  Lights.  ” 

G.  K.  Arthur  has  been  chosen  to  appear 
in  the  new  Grahame  Wilcox  feature,  “Paddy 
the  Next  Best  Thing.” 

Donald  Crisp  is  to  play  lead  for  Inter¬ 
national  Artistes  in  Edward  Jose’s  pro¬ 
duction,  “God’s  Prodigal.” 

Martin  Walker,  who  is  at  present  playing 
in  “  Body  and  Soul,  ”  for  Nigel  Playfair,  is 
shortly  to  direct  “There  and  Back,”  for 
Martin-Boyd  Productions. 

Although  Harding  Steerman  is  playing 
on  the  legitimate  stage,  he  is  still  open 
to  accept  film  engagements,  and  does  not 
contmn  plate  giving  up  liis  screen  con¬ 
nections. 


September  16,  1922 


THE  MOTION  PICTURE  STUDIO 


SCREEN  VALUES 

MEASURING  UP  THE  WEEK’S  PRODUCT 


1 


“  A  Sister  to  Assist  * Er 

13aron — Starring  Mary  Broiigh — Supported 
by  Polly  Emery,  John  McAndrews, 
Cecil  Morton  York,  Billie  Baron,  Mrs. 
Fred  Emery,  J.  Edwards  Barber  and 
Muriel  Aked — Directed  and  adapted  by 
George  Dewhurst. 

T  is  always  a  pleasant  duty  to  record 
the  success  of  the  first  production  of  a 
new  producing  concern.  Great  interest 
has  been  evinced  in  this  initial  effort  of 
Baron  Films,  and  much  has  been  expected 
of  the  company.  Those  who  see  the  film 
will  be  in  no  way  disappointed  with  it.  It 
is  excellent  in  every  detail,  story,  scenario, 
direction,  acting  and  photography. 

It  is  one  of  the.  most  delightful  comedy 
subjects  we  have  seen  for  some  time,  and 
it  is  a  production  that  will  do  much  to 
popularise  British  pictures. 

George  Dewhurst  is  to  be  complimented 
on  his  skilful  handling  of  the  situations. 
Right  from  start  to  finish  the  picture  is  a 
continual  .series  of  laughs  without  cne  dull 
moment  throughout. 

Mary  Brough  gives  a  delightful  perform¬ 
ance  in  the  leading  role.  Much  of  the 
success  of  the  film  is  due  to  her  clever 
handling  of  the  part  of  Mrs.  May. 

Polly  Emery,  as  the  landlady,  gives 
another  excellent  interpretation.  Her  work 
in  this  role  will  keep  everyone  amused 
throughout  the  film. 

John  McAndrews  can.  of  course,  be  de¬ 
pended  upon  to  see  that  no  fault  will  be 
found  with  his  work ;  ,as  the  fishmonger 
he  adds  another  success  to  his  already  long 
list. 

Cecil  Morton  York  is  a  remarkable  per¬ 
sonality  ;  whether  in  melodrama  or  comedy 
he  seems  to  be  quite  equal  to  the  demands 
of  his  role.  Those  who  have  been  used  to 
regarding  him  as  first-class  interpreter  of 
dramatic  roles  will  be  delighted  to  see  his 
performance  in  a  comedy  part. 

Billie  Baron  is  very  good  as  the  sailor, 
and  the  many  small  parts  are  exceedingly 
well  portrayed. 

The  scenarist  has  handled  the  comedy 
situations  admirably,  and  has  extracted 
every  ounce  of  humour  from  them.  The 
■story  is  full  of  humorous  situations. 

G.  Pauli’s  photography  is  excellent,  al¬ 
though  such  a  oicture  does  not  offer  many 
opportunities  for  anything  very  brilliant  in 
this  direction. 

Summary. 

Direction  :  ‘Magnificent. 

Deads  :  Faultless. 

Supports  :  Excellent. 

Literary  :  Very  fine  story  and  well- 
written  scenario. 

Lighting  :  Good. 

Exteriors  :  Suitable. 

Interiors  :  Convincing. 

Photography  :  Very  good 

“  Repentance." 

B.  and  Z.  Productions — Directed  by  Edward 
R.  Gordon — Starring  Ray  Raymond  and 
Peggy  Hathaway — Supported  by  Ward 
McAllister,  Fabbie  Benstead,  Geoffrey 
Benstead.  Hetta  Bartlett  and  Ray  Lan¬ 
caster. 

TT  is  rather  disappointing  after  witnessing 
so  many  excellent  English  pictures  of 
late  to  see  this  film,  which  is  the  sort  of 
thing  we  should  have  expected  from  a  British 
studio  a  few  years  ago,  but  not  nowadays. 
The  film,  of  course,  is  nearly  a  year  old, 
and  in  that  time  English  productions  have 
considerably  improved. 

Technically,  it  is  a  very  badly  made  pic¬ 
ture.  No  thought  has  been  given  to  details, 


and  the  picture  bears  evidence  of  careless¬ 
ness  in  the  direction. 

The  acting  is  not  of  a  very  high  quality. 

Peggy  -Hathaway  is  fairly  good  as  the 
heroine. 

Ray  Raymond  makes  a  good  heavy,  and 
plays  his  role  of  the  brutal  father  well. 

Ward  McAllister  makes  a  fine  juvenile 
lead. 

Geoffrey  Benstead  is  well  suited  to  his 
role. 

The  supporting  cast  is  good. 

Neither  the  scenario  nor  the  story  is  par¬ 
ticularly  good. 

Photography  is  just  average,  and  con¬ 
tains  no  outstanding  merits. 

Summary. 

Direction  :  Poor. 

Leads  :  Average  : 

Supports  :  Fair. 

Lighting  :  Good. 

Exteriors  :  Suitable. 

Interiors  :  Unconvincing. 

Photography  :  Good. 

“  A  Rogue  in  Love." 

Diamond — Directed,  by  Albert  Brouett — 
Starring  Frank  Stanmore — Supported  by 
Betty  Farquhar,  Lawford  Davidson, 
Gregory  Scott,  Kate  Gurney,  Wallace 
Bosco — Scenario  by  Harry  Hughes — 
Photography  by  -L.  C.  Egrot. 

f  I^HIS  is  a  valuable  addition  to  the  world’s 
"*■  stock  of  screen  humour.  Not  that  it  is 
a  comedy — it  is  more  than  that  :it  is  pathos, 
drama  and  romance — but  the  heavier  stuff  is 
cleverly  relieved  by  some  of  the  most  excel¬ 
lent  comedy  we  have  yet  seen.  Not  comedy 
of  slapstick  crudities  or  nonsensical  situa¬ 
tions,  but  the  every-day  comedy  that  falls  to 
the  lot  of  two  true-to-life  characters  of  the 
working-class  type. 

It  must  also  be  stated  that  the  pathos  is  of 
the  best  description  :  at  times  very  intense, 
but  never  strained. 

The  credit  of  this  film — as  the  credit  of  all 
good  films  must  of  necessity  be — is  equally 
divided  between  director,  artistes,  scenarist 
and  cameraman.  Brouett  is  evidently  the 
kind  of  director  that  we  need  very  badly. 
He  is  a  master  of  technique  and  never  falls 
into  the  error  of  overdoing  anything — the 
intermingling  of  pathos  and  humour  is 
exquisitely  artistic. 

Two  characters  stand  out  and  overshadow 
all  else :  those  played  by  Frank  Stanmore 
and  Betty  Farquhar.  Stanmore  submits  a 
polished  performance  as  the  Rogue ;  he  is 
master  of  the  part.  Always  the  real  artiste, 
he  shows  sympathetic  insight  into  the  part  of 
such  a  character,  and  his  work  is  a  flawless 
cameo  lighted  up  with  touches  of  piquant 
pathos  and  homely  comedy  inserted  with  the 
gesture  of  the  genius. 

We  consider  that  Betty  Farquhar  is  a  great 
find.  Her  study  of  the  servant  girl  is 
perfect  artistry.  This  kind  of  role  is  evi¬ 
dently  her  forte.  Unerringly  she  does  the 
right  thing  in  the  right  manner  every  time. 
Even  the  coarseness  of  a  “  skivvy’s  ”  life  is 
never  allowed  to  be  crude  or  repugnant ; 
and  the  clever  manner  in  which  the  servant 
adopts  and  maintains  a  kind  of  imitation 
dignity  is  highly  commendable. 

Fred  Raines  plays  a  very  difficult  part 
capably.  He  skilfully  avoids  the  danger  ol 
becoming  “old  womanish,”  and  yet  portrays 
emotion  with  consummate  skill. 

Lawford  Davidson,  Kate  Gurney  and 
Wallace  Bosco  submit  excellent  perform¬ 
ances,  but  Ann  Trevor  and  Gregory  Scott 
fall  somewhat  below  the  standard  of  acting 
set  by  the  rest  of  the  cast.  The  former  is 


too  hard  and  unsympathetic  for  the  part, 
and  Scott  will  persist  in  adhering  to  the 
old-fashioned  mannerisms  and  stocky  stage 
conventions  which  do  not  allow  him  to 
display  that  histrionic  initiative  of  which  he 
is  so  capable. 

Both  the  scenarist  and  cameraman  have 
done  excellently  Egrot  maintains  his 
reputation  for  photographic  artistry,  and  his 
work  is  of  the  best  quality  possible. 

Summary. 

Direction  :  Excellently  skilful. 

Leads:  Stanmore  and  Farquhar  won¬ 
derful. 

Supports  :  Adequate. 

Literary  :  Story  fine,  scenario  good. 

Photography  :  Very  good  indeed. 

Lighting  :  Fair. 

Interiors  :  Well  staged. 

Exteriors  :  Good, 

“  Dick  Turpin’s  Ride  to 
York.” 

Stoll — Directed  by  Maurice  Elvey — Starring 
Matheson  Lang — Supported  by  Isobel 
Elsom,  Cecil  Humphreys,  Lewis  Gilbert, 
Malcolm  Tod,  Madame  D’Esterre,  Tony 
Fraser,  Norman  Page,  Lily  Iris  and 
James  English — Scenario  by  Leslie 
Howard  Gordon— Photography  by  Jack 
Cox — Art  direction  by  Walter  Murton. 

A  LTHOUGH  this  is  undoubtedly  a  very 
_rV'  good  production,  the  most  has  not  been 
made  of  it.  Whether  it  is  the  scenario  or 
cutting  that  is  at  fault  it  is  difficult  to 
determine. 

Maurice  Elvey  has  handled  the  artistes 
very  well  indeed,  and  has  done  his  share 
of  the  work  in  fine  style.  This  is  possibly 
one  of  his  best  productions. 

The  ending  is  not  .satisfactory.  There 
are  too  many  shots  to  complete  the  film ; 
some  of  these  should  be  cut. 

Matheson  Lang’s  performance  in  this  is 
better  than  it  has  been  in  some  of  his  pre¬ 
vious  films.  Throughout  he  is  natural  and 
free  from  stageiness.  He  makes  a  fine  Dick 
Turpin. 

Isobel  Elsom  gives  a  good  performance  as 
leading  lady  to  Lang. 

Mdme.  D’Esterre  is  particularly  good’  as 
the  mother  of  the  Earl. 

Malcolm  Tod  has  little  to  do,  but  is  ex¬ 
cellent  whenever  he  appears. 

Tony  Fraser  gives  one  of  the  best  per¬ 
formances  as  the  Bow  Street  Runner ;  al¬ 
though  his  part  is  small  he  gives  to  it 
all  the  attention  that  one  would  bestow  on 
a  leading  role. 

Lewis  Gilbert,  as  Tom  King,  is  very  fine. 

The  person  who  doubled  for  Lang  in  the 
riding  does  some  excellent  work. 

Norman  Page,  as  the  sneaky  Bevis,  has  a 
wide  range  of  facial  expressions,  and  is 
without  doubt  a  clever  actor. 

Cecil  Humphreys  is  already  famous  in  the 
realms  of  screen  villainy.  His  performance 
in  this  picture  is  quite  up  to  the  high  stan¬ 
dard  set  by  him  in  his  previous  productions. 

Lily  Iris  and  James  English  both  give 
good  interpretations  of  their  respective  roles. 

Leslie  Howard  Gordon  has  not  made  the 
most  of  some  of  the  situations,  although  the 
scenario  is  fairly  well  written  and  the  con¬ 
tinuity  well  preserved. 

Jack  Cox’s  photography  is  one  of  the 
features  of  the  film,  and  considerably  helps 
in  making  it  the  success  it  is.  Although 
the  interiors  are  quite  well  done,  it  is  on 
the  exteriors  that  Cox  gets  the  best  results. 

(Continued  on  page  13  ) 


II 


THE  MOTION  PICTURE  STUDIO 


September  16,  1922 


AMD 


Following  the  example  of  the  “  Star,”  we  have 
arranged  Jor  Ernest  G.  Allighan  and  David 
Robertson  ( the  black  and  white  artist)  to  visit  film 
centres  each  week  for  the  purpose  of  a  humorously 
informaii\e  article  with  caricature  illustrations. 

As  these  visitors  are  physically  “  the  long  and  short  of  it,”  the  appropriateness  of  the 
parody  of  the  Star  s”  1  amous  headline  will  readily  be  seen.  It  should  be  explained 
that  all  references  in  this  series  are  perfectly  good-humoured  and  no  offence  is  meatit 

or  should  be  taken. 


SQUARING  THE  CRIMSON  CIRCLE 


IN  my  unregenerate  days  I  used  mentally 
1  to  devour  certain1  lurid  literature  which 
dealt  with  the  skill  with  which  one,  Bexton 
Slake,  unravelled  the  mucky  deeds  of  dark¬ 
ness  perpetrated  in  the  name  of  High 
Finance.  Later  I  entered  journalism. 

Last  week  the  Call  of  Duty  kicked  up  a’  nell 
of  a  row.  It  called  me  from  seashores  and 
slackness  to  Wardour  Street  and  "  The 
Crimson  Circle.” 


According  to  some 
authorities  “The 
Crimson  Circle  ”  is  a 
detective  storv. 

I  disagree. 

It  is  the  concentra- 
ted  essence,  the 
bovrilised  version,  of 
all  the  Bexton  Slake 
adventures  that  have 
ever  been  adven¬ 
tured.  The  five 
thousand  feet  of  film 
is  a  ribbon  of  celluloid 
gore.  Every  sprocket 
hole  is  a  clue — every 
clue  means  a 
mur-r-r-der.  I  wonder 
that  the  linen  of  the 
screen  did  not  scorch 
under  the  heat  of  the 
crimes. 

By  the  way,  I  would 
like  to  explain  that 
all  good  detective 
yarns  are  fairly  well 
riddled  with  improba¬ 
bilities.  And  “  The 
Crimson  Circle  ”  is  a 
good  detective  yarn. 
But  who  careswhether 
the  man  was  poisoned 
by  a  revolver  or 
stabbed  with  a  bottle 
of  prussic  acid  ?  Such 
minor  incidentals  do 
not  affect  the  main 
issue, ]  which  was  that 
the  man  was  dead. 


That’s  what  I  hate  about  critics.  They 
go  off  the  deep  end  about  trifles  and  miss  the 
vital  points.  To  my  mind  how  he  died 
doesn’t  matter  two  penn’orth  of  Old  Tom. 
What  matters  is  that  he  did  die. 

And  there’s  no  mistake  about  it  in  “  The 
Crimson  Circle.” 

The  “  he  ”  in  question,  be  it  noted,  is  dear 
old  Sydney  Paxton.  Now  who  in  the  big  house 
in  the  country  was  unkind  enough  to  give 
Sydney  his  passport  to  the  Heavenly 
Regions  ?  Anyone  will  tell  you  that  Sydney 
has  the  dove  beaten  for  gentleness  and  the 
studio  manager  for  kind-heartedness.  And, 
yet  some  inky-souled  son-of-a-gun  supplied 


Sydney  with  the  “  Sesame  ”  of  the  Pearly 
Gates. 


Now,  what  I  admire  about  Sydney  is  his 
death.  He  makes  a  nice  corpse.  And, 
what’s  more,  he  dies  nice.  Doesn’t  make  a 
fuss,  or  want  to  write  to  John  Bull  about  it. 
He  just  receives  the  stab  of  the  arsenic  with 
the  same  smile  with  which  he  signs  his 
cheques  ....  a  very  considerate  sorter 
corpse,  is  Sydney  ;  no  bucket  of  water  and 
stiff-broom  needed  afterwards — not  even  the 
antimacassar  creased. 


Well,  as  I  say, 
Sydney  Paxton  got 
it  right  where  the 
chicken  got  the 
chopper.  And 
(fortunately  for  the 
criminal  —  and 
Edgar  Wallace)  he 
just  said  his  prayers 
in  silent  shorthand, 
cockled  in  at  the 
knees,  and  buried 
his  dear  slim  self  in 
the  cushions. 


Of  course,  sus¬ 
picion  pointed  to 
the  heroine  in  true 
Wallacian  fashion. 

And  that  was  a 
pity,  because  the 
heroine  was  Madge 
Stuart.  I’m  rather 
fond  of  Madge.  But  Fred  Groves,  whose 
middle  name  is  Duty,  arrested  her  in  his  best 
House  Committee  style. 

It  was  at  this  particular  moment  that  my 
loins  were  seized  with  paroxysms  of  disap¬ 
pointment.  I  had  banked  on  the  rivalry  of 
the  Entertainments  and  House  Committees. 
1  felt  convinced  that  the  two  chairmen  would 

fight  the  battle  of 
the  green  table  on  the 
green  grass.  I 
imagined  that  the 
olfactory  organ  of 
Fred  Groves  would 
collide  with  the  third 
knuckle  of  Rex 
Davis’s  fist.  And  all 
the  Irish  blood  in  me 
reached  boilingpoint. 

But  it  never  came 
to  pass.  Rex,  who 
loved  the  heroine, 
allowed  her  to  be 
dragged  away  to  the 
castle  dungeon  under 
the  moat  (Cell  973 
in  Bow  .Street, 
really)  with  no  more 
expression  of  feeling 
than  to  knock  Law- 


Arthur  Walcott  as 
King  Bsaver  with 
Bertram  Burleigh 
as  H  air  Apparent 


ford  Davison  flat,  which  wasn’t  a  kind 
thing  to  do.  For  all  that  Lawford  had 
done  was  to  make  love  to  the  heroine. 

Who  wouldn’t  ? 

But  long  before  this  I  had  had  a  little 
trouble  all  of  my  own — -the  Artist-Fellow. 
Although,  of  course,  he’s  scarcely  a  little 
trouble.  ’Twas  thusly :  Earlier  on  in  the 
story,  Rex  Davis,  who  has  developed  a  most 
disconcerting  Naresque  manner,  indulged 
in  some  “  low-lights-and-soft-music”  stuff 
with  the  heroine. 


But  she  wasn’t  having  any.  At  least, 
that’s  what  it  amounted  to.  Recalling  all 
the  delightful  passages  of  Ethel  M.  Dell 
she  told  him  that  "  it  cannot  be.”  And  you 
all  know  what  that  means.  It’s  an  invitation 
to  the  man  to — a  la  “  Way  of  an  Eagle  ” — • 
crush  her  to  his  breast,  smother  her  eyes  with 
kisses,  press  his  burning  passionate  lips  to 
hers  of  the  same  ilk,  and  with  a  voice  vibrant 
with  emotion  exclaim  tenderly :  “  But, 

it  must  be — -it  shall  be.” 


Not  so  with  Rex.  After  vainly  endeavour¬ 
ing  to  screw  a  tear  out  of  his  smiling  eyes  he 
seizes  his  nice  kid  gloves  in  both  hands  and 
wrings  tears  out  of  them  until  they  splash  in 
a  steady  stream  on  the  floor. 

This  was  too  much  for  the  Artist-Fellow^, 
who’s  got  such  a  darned  silly,  sentimental 
nature  that  he  had  to  blub  in  sympathy. 
Which  was  alright  so  far  as  it  went.  And  it 
went  on  the  crepe  de  chine  dress  of  the  lady 
next  him.  If  the  lady  will  send  her  claim 
to  this  office  we’ll  deduct  it  out  of  the  Artist- 
Fellow’s  salary. 

And,  here  let  me  pause  to  give  a  right  royal 
welcome  to  Arthur  Walcott,  the  King  Beaver  ! 
He  carried  his  honours  and  his  years  verj' 
well  indeed.  But  behind  the  wealth  of 
facial  fungi  beats  a  kindly  heart. 

Well,  as  I  was  about  to  remark.  “  The 
Crimson  Circle  ”  is  a  pictorial  record  of  No.  9 
Great  Newport  Street.  I  have  heard  say 
that  there  are  two  famous  people  in  the  club — 
a  lady  who  is  not  in  the  Club  picture  and  a 
man  who  is  not  on  a  Committee  ! 


Nor  must  I  omit 
to  refer  to  the 
gracious  speech  by 
Eva  Moore  who 
explained  what  the 
film  was  for  and 
why  it  was  made. 
But  Miss  Moore 
never  told  how  the 
idea  originated 
because  she  proba- 
bty  did  not  know. 

It  was  about  last 
Christmas  when 
George  Ridgwell 
and  I  were  just 
arranging  to  secure 
the  Club  premises. 

The  next  morn¬ 
ing  my  ’phone  bell 
rang  and  I  heard 
the  old  familiar 
voice — as  eager  as 
ever,  as  optimistic 
as  ever  : 

“  Say,  Ernie, 
listen,  I’ve  got  a 
brain  wave.”  And 
I  listened  while 
George  unfolded  his 
great  idea.  I  saw 
in  a  moment  its 
possibilities,  and 


The  Madgical  Eve 
of  Miss  Stuart 


it  was  that  idea  that 
conclusivly  pursuaded  us  to  take  No.  9. 


The  worst  that  folks  can  say  about  George 
is  that  he  is  the  quintessence  of  optimism. 
But  the  best  of  his  brand  of  optimism  is  that 
it  always  succeeds.  “  The  Crimson  Circle” 
is  a  typical  example  of  this. 


And,  so  “  The  Crimson  Circle  ”  will  go 
out  to  the  world.  Being  truthful  rather 


12 


September  16,  1922 


THE  MOTION  PICTURE  STUDIO 


NEW  SERIES 

ON  OUR  BLACK  LIST 

No,  V.— Inconsiderate  Firms. 


Thanks  to  a  perverted  law  of  libel,  the  effect  of  which  is  to  safe¬ 
guard  the  wrongdoer  and  penalise  the  journal  which  is  courageous 
enough  to  expose  him,  we  are  precluded  from  mentioning  the  names  of 
the  persons  in  the  Film  Industry  whom  we  are  exposing  in  this  series 
of  articles.  We  have,  however,  the  full  facts,  including  the  name  of 
the  person,  relating  to  these  exposures.  Our  object  in  writing  them  is 
to  make  known  to  the  wrongdoer  the  fact  that  we  are  fully  aware  of  his 
— or  her — activities  which  will  receive  fuller  publicity  if  this  initial 
and  partial  exposure  does  not  cause  an  alteration  for  the  better. 
Readers  who  may  know  of  other  such  cases  are  asked  to  communicate 
with  us — their  letters  will  be  treated  in  strictest  confidence  and  no 
names  mentioned. 


than  journalistic  I  cannot  say  that  it  is  a 
flawless  film.  But  it  is,  at  least,  the  only 
film  that  has  ever  been  made  for  a  self-less 
object.  And  that  should  count  one  in  an 


“ . cast  their 

shadows  before  ”--E\a 
Moore’s  open  hand  to 
the  buyers 


industry  where  the  first  personal  pronoun 
is  the  only  letter  in  the  alphabet  and  should 
carry  weight  in  a  land  fit  for  heroes- — and 
no  one  else — to  live  in. _ _ 

SCREEN  .VALUES  ‘SAT 

The  silhouette  effects  are  very  good,  and 
the  photography  in  the  scene  where,  Black 
Bess  dies  makes  this  particular  incident. 

‘  Tell  Your  Children  ” 

International  Artists — Directed  by  Donald 
Crisp — Starring  Walter  Tennyson  and 
Doris  Eaton — Supported  by  Cecil  Mor¬ 
ton'  Yorke,  Gertrude  McCoy,  Harding 
Steerman,  Adeline  Hayden  Coffin,  War¬ 
wick  Warde,  Tony  Fraser,  Robert  Eng¬ 
lish,  Margaret  Halstan,  Mary  Rorke,  C. 
Tilson-Chowne,  Alec  Alexander,  junr., 
and  Tom  Coventry — Scenario  by  Donald 
Crisp  and  Leslie  Gordon. 

UPERBLY  acted  and 'directed,  whatever 
time,  trouble  or  expense  that  has  been 
expended  on  “Tell  Your  Children  ”  has  not 
been  spent  in  vain,  for  it  is  a  production 
of  great  technical  excellence,  and  Donald 
Crisp  is  to  be  congratulated  on  his  clever 
handling  %f  the  subject. 

Two  newcomers  to  the  British  screen  are 
Doris  Eaton  and  Walter  Tennyson,  both  of 
whom  make  their  debut  in  this  film. 

Doris  Eaton  has  an  attractive  screen  per¬ 
sonality,  which  will  do  much  to  make  her 
very  popular  on  the  English  screen. 

Walter  Tennyson  is  excellent  in  this  par¬ 
ticular  role,  and  so  long  as  he  sticks  to 
this  type  of  part  should  make  a  big  success 
in  pictures. 

Gertrude  McCoy  has  little  to  do,  but, 
needless  to  state,  does  that  little  well. 

Mary  Rorke  is  extremely  good  as  Susan 
Haslar. 

Warwick  Warde  makes  a  very  fine  heavy. 

Cecil  Morton  York’s  performance  as  the 
farmer  is  excellent. 

Adeline  Hayden  Coffin  gives  a  sympa¬ 
thetic  rendering  of  the  role  of  the  old  nurse. 

Margaret  Halstan.  as  Lady  Edwards,  is 
quite  equal  to  all  the  demands  of  the  part. 

Fine  performances  are  given  by  Tony 
Eraser,  Robert  English,  Alec  Alexander, 
iunr.,  C.  Tilson-Chowne,  Tom  Coventry, 
the  girl  who  appears  in  the  Egyptian  dance- 
hall  and  the  child  who  takes  the  role  of 
Rosny’s  son. 

The  scenario  has  been  well  written,  and 
the  continuity  flows  smoothly. 

The  Trade  show  print  of  this  subject  was 
not  very  good,  but  the  photography  is 
consistently  excellent  without  possessing 
any  outstanding  effects. 


ERIODICALLY  there  arises  in  the 
Press  a  wail  from  film  directors  and 
other  important  gentlemen  to  the  effect 
that  there  is  a  dearth  of  good  stories  for 
the  screen.  One  such  outcry  has  attracted 
recently  more  than  its  meed  of  attention. 

It  is  quite  true  there  is  a  real  shortage, 
and  British  films  are  suffering  in  conse¬ 
quence.  But  it  is  a  habit  of  such  gentle¬ 
men  to  blame  the  novelists,  to  blame  the 
scenarists,  to  lay  the  blame  on  anybody 
and  everybody,  except  their  own  film 
editors  and  themselves. 

There  are  firms  such  as  Hepworth, 
Gaumont,  and  Blackton,  where  the 
scenarist  receives  the  same  good  treat¬ 
ment  that  a  novelist  does  with  a  first-class 
publisher.  There  are  unfortunately  too 
many -other  hrms  where  this  treatment  is 
not  met  with — in  fact,  one  scenarist  after 
another  is  being  driven  into  giving  up 
work,  and  if  this  continues,  what  are 
British  pictures  going  to  do  ?  Professional 
screen  writers  of  the  first  rank  cannot  be 
made  in  a  day. 

If  a  play  is  submitted  to  a  German  firm 
it  is  read,  and  a  decision  reached  in  three 
days  from  the  receipt  of  the  MSS.,  and  an 
answer  is  immediately  despatched  to  the 
author.  If  the  same  MSS.  is  sent  to  a 
British  firm  three  months  may  elapse,  or 
even  six,  before  a  decision  is  arrived  at, 
though  time  is  often  money  in  the  sale  of 
a  film. 

In  one  case,  when  the  firm  reached  the 
epoch-making  decision  to  fix  on  the  play 
for  its  next  production,  and  communi¬ 
cated  to  the  author  the  news  that  his  film 
suited  them,  they  later  sent  the  play  back, 
without  either  apology  or  compensation, 
to  the  unhappy  scenarist  who  was  rash 
enough  to  take  the  firm’s  word  as  their 
bond. 

In  some  cases  the  firm  loses  the  stamps 
for  return,  and  will  not  forward  the 
author  his  property  until  further  stamps 
have  been  sent.  In  other  cases  the  MSS. 
are  alleged  to  have  been  “lost.”  This 
carelessness  will  continue  until  profes¬ 
sional  scenarists  combine  together  to  force 
firms  to  pay  compensation  equal  to  the 
cost  of  typing  out  a  fresh  script,  every 
time  a  professional  scenarist’s  play  is 
lost. 

An  example  from  German}  has  just  been 
quoted,  but  all  producing  firms  do  not 
work  with  the  same  promptitude.  To 
take  an  example  :  — 

A  firm  in  sudden  need  interviewed  a 
scenarist  about  two  scripts,  heard  the 


i  stories,  practically  accepted  them  on  the 
spot,  settled  the  price,  and  the  firm 
agreed  to  let  the  author  know  within  a 
week  in  the  unlikely  event  of  the  plays 
proving  unsuitable. 

That  was  on  June  1.  Letters  every 
month  following  remained  unanswered, 
until  one  letter  came  to  say  that  the  MSS. 
were  “lost,”  and  a  following  one  to  say 
that  they  had  never  been  delivered  to  the 
firm  at  all,  although  they  were  given  per¬ 
sonally  to  the  director. 

On  these  contradictory  letters,  the 
author  at  once  placed  the  matter  in  the 
hands  of  her  solicitors,  and  the  following 
year  the  plays  were  returned  with  no 
apology  or  compensation,  and  these  were 
super  films  that  represented  more  than 
six  months’  work,  and  both  could  have 
been  placed  elsewhere. 

This  condition  of  things  will  not  be 
bettered  until  directors  and  others  learn 
that  the  professional  scenarists’  play  is 
property,  and  the  man  or  woman  who 
detains  it  so  that  the  owner  misses  a  sale, 
or  loses  it  without  paying  proper  compen¬ 
sation  should  be  liable  to  prosecution  in 
exactly  the  same  way  as  if  the  script  was 
any  other  form  of  property. 

Presumably,  film  magnates  buy  per¬ 
sonal  goods  like  other  men.  If  such  a 
man  orders  half  a  dozen  shirts  to  be  sent 
him  from  his  outfitters,  and  those  shirts 
are  lost,  either  permanently  or  for  a 
period  of  some  months,  he  will  not  expect 
the  haberdasher  to  be  content  with  a 
statement,  “I  can’t  return  your  shirts. 
They  didn’t  suit  me,  but  I’ve  lost  them, 
so  I  can’t  send  them  back.”  He  knows 
the  tradesman  will  expect  money  down 
for  those  lost  shirts,  and  he  will  pay  it. 

Will  all  those  at  the  head  of  film  firms 
put  it  out  of  their  mind  altogether,  that 
the  scenarist  is  an  artist  working  for  love 
of  his  art.  He  has  got  to  be  a  com¬ 
mercial  man  these  days— in  other  words, 
he  must  have  the  right  to  live.  He  offers 
goods  for  sale  to  the  film  firm  in  exactly 
the  same  spirit  as  the  man  who  sells 
goods  over  a  counter. 

The  poorest  scenarist  in  the  world  is  a 
man  of  property.  His  plays  are  his 
Capital  and  his  Labour.  He  has  trot  to 
have  his  property  as  well  and  honestlv 
treated  as  if  he  was  in  any  other  form  of 
business. 

It  is  up  to  the  Film  Trade  of  this 
country  to  see  to  it  that  those  firms  which 
treat  scenarists  badly  are  brought  to 

realise  the  harm  they  are  causing. 


13 


THE  MOTION  PICTURE  STUDIO 


September  16,  1922 


COMPLETE  LIST  OF  ALL  THE  BRITISH  STUDIOS,  TOGETHER 
WITH  ADDRESSES,  TELEPHONE  NUMBERS, 


Alliance  Film  Co. 

Studio  :  St.  Margaret’s,  Twicken¬ 
ham. 

Phone  :  Richmond  1945. 

Route  :  Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s.  Fare  : 
1st,  2s.  01.,  3rd,  Is.  OJd.  ;  R.T., 
1st  3s.  Id.,  3rd  2s.  Id. 

From  Waterloo  :  A.m.,  every 
10  minutes  ;  from  St.  Margaret’s 
every  10  minutes. 

Artistic  Films,  Ltd. 

Address  :  93-95,  Wardour  Street, 
W.  1. 

Phone  :  Gerrard  3210. 

Film  :  “  Skipper’s  Wooing.” 
Director  :  H.  Manning  Haynes. 
Cameraman  :  Frank  Grainger. 
Scenarist  :  Lydia  Hayward. 

Stage  :  Cutting  and  Assembling. 

Film  :  “  Dialstone  Lane.” 

Stage  :  Scheduled. 

Barkers. 

Address  :  Ealing  Green,  London, 
W.  5. 

Phone:  Ealing  211  and  1582. 
Studio  :  Vacant. 

B  &  C.  Productions. 

Address  :  Hoe  St.,  Walthamstow. 
Phone  :  Walthamstow  364  and  712. 
Route  :  Bus  38.  Tram  81  to 
Bakers’  Arms.  G.E.R.,  Liver¬ 
pool  Street  to  Hoe  Street. 
Fare :  1st  Is.  2d.,  2nd  10Jd., 
3rd  7d.  R.T.,  1st  Is.  9d.,  2nd 

Is.  4d.,  3rd  10-ld. 

From  L.S.  :  A.m.  7.58,  then 
every  few  minutes  until  p.m., 
9.5,  9.20,  9.35,  9.50,  10.5,  10.20, 

10.35,  10.50,  11.5,  11.20,  11.35, 

11.50,  12.5,  12.35  midnight. 

Hoe  Street  to  L.S.  :  A.m.,  7.53, 

8.2,  8.8,  then  every  few  minutes  ; 
p.m.,  8.20,  8.35,  8.50,  9.6,  9.20, 

9.35,  9.49,  10.6,  10.20,  10.36, 

10.50,  11.6,  11.20,  11.35,  12.2. 
Film  :  Historial  Incidents. 
Director  :  George  Ridgwell. 
Cameraman  :  I.  Roseman. 

Type  :  One  reelers. 

Stage  :  One  a  fortnight. 

Baron  Films. 

Address:  95,  St.  Martin’s  Lane, 
W.C.2 

British  Famous  Films. 

Address  :  “  Woodlands,”  High 

Road,  Whetstone. 

Phone  :  Finchley  1297. 

Studio  Vacant. 

British  and  Oriental. 

Address  :  B.  P.  Studios,  Thornton 
House,  Thornton  Road,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Studio  being  used  by  Quality  Films. 

British  Photoplays. 

Address  :  Devon  Chambers,  28, 
Fleet  Street,  Torquay. 

Not  Working. 

British  Productions. 

Address  :  Selborne  Road,  Hove. 
Film  :  Historial  Subjects. 
Director  :  Lieut.  Daring. 
Cameraman  :  A.  Kingston. 

14 


British  Super  Films. 

Address  :  Worton  Hall,  Isleworth. 
Phone  :  Hounslow  212. 

Route  :  Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth. 
Fare  :  1st  Is.  Did.,  3rd  9d.  ; 
R.T.,  1st  Is.  9d.,~  3rd  Is.  6rl.  ; 

а. m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 
past  each  hour  until  11.51  p.m. 
Extra  trains,  4.43,  5.13,  5.43, 

б. 13,  6.43,  7.13. 

Isleworth  to  Waterloo  :  8.33, 

8.44,  9.3,  9.14,  9.33,  9.44,  10.14, 

10.44.  Same  minutes  past  every 

hour  until  10.44,  11.14  p.m. 

Extra  trains  5.30,  6.0,  6.30. 

Film  :  “  The  Right  to  Strike.” 
Director  :  Fred  Paul. 

Stage  :  Third  week. 

Daisy  Producticns. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson 

Address  :  Lea  Bridge  Road,  E.  10. 
Phone  :  Walthamstow  634. 

Route  :  Bus  Nos.  35  and  38. 
Trams  81,  55,  57. 

G.E.R.  from  Liverpool  Street 
to  Lea  Bridge  Road.  Fares : 
1st  Is.  2d.,  2nd  10Jd.,  3rd  7d. 
R.T.,  1st  Is.  9|d.,  2nd  Is.  4d., 
3rd  10id.  A.m.,  10.34 ;  p.m., 

1.20,  3.5,  4.37,  6.27,  8.5. 

Lea  Bridge  to  Liverpool  Street : 
P.m.,  1.4,  5.27,  5.54,  6.29,  7.7, 
8.4,  8.57,  10.4. 

Film:  “  The  Sporting  Instinct.” 


Director  :  Arthur  Rooke. 
Scenarist  :  Kinchen  Wood. 
Cameraman  :  Leslie  Eveleigh. 
gTAGE :  Completed. 

tvan-Pnillips  Film  Production. 

Address  :  3,  Wardour  Street,  W.  1. 
Phone  :  Regent  3282. 

Film  :  “  Hims  —  Ancient  and 

Modern.” 

Director  :  E.  D.  Roberts. 
Scenarist  :  C.  Lowndes  Yates  and 
Muriel  Alleyne. 

Star  :  Athalie  Davis. 

Stage  :  Second  week. 

F.  P.-Lasky. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
and  then  tram  No.  11. 

Studio  being  used  by  Grahame 
Cutts. 

Gaumont. 

Studio  :  Lime  Grove,  Shepherd’s 
Bush,  W.12. 

Phone  :  Hammersmith  2090-1-2. 
Route  :  Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station 

Film  :  “  Rob  Roy.” 

Director  :  Will  Kellino. 
Cameraman  :  A.  St.  Brown. 

Stage  :  Completed, 


Film  :  “  The  Scientist.” 

Director  :  Capt.  Calvert. 

Star  :  Marjorie  Hume,  David  Haw¬ 
thorne,  H.  R.  Hignett  and  Frank 
Dane. 

Scenarist  :  Alicia  Ramsay. 

Stage  :  Third  week. 


Glen  Fnm  Productions. 

Address  :  20,  Lisle  Street,  W.C. 
Studio  :  “  Belgrave,”  Marine 

Terrace,  Aberystwyth. 

Not  working. 

Ceorge  mark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Phone  :  Museum  3012. 

Film  •  “  Maid  of  the  Silver  Sea.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Stage  :  Third  week. 

Grahame  Wilcox  Productions. 
Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
then  tram  No.  11. 

Film  :  c*  Flowers  of  Passion.” 
Director  :  Grahame  Cutts. 
Stage:  Cutting  and  Assembling 

Film  :  “  Paddy  the  Next  Best 

Thing.” 

Director  :  Grahame  Cutts. 

Star  :  Mae  Marsh. 

Stage  :  First  week. 

Cranger-Binger. 

Address  :  191,  Wardour  St.,  W.  1. 
Phone  :  Gerrard  1081  and  1728. 
Studios  :  Haarlem,  Holland. 

Film  :  “  The  Lion’s  Mouse.” 
Director  :  Oscar  Apfel. 

Stars  :  Mary  Odette,  Wyndham 
Standing,  Marguerite  Marsh  and 
Rex  Davis. 

Stage  :  Scheduled. 

Grarvilie  Prcductiors. 

Address  :  Windsor  Studios,  Brom¬ 
ley  Road,  Catford. 

Phone  :  Lee  Green  948. 

Film  :  “  Shifting  Sands.” 
Director  :  Fred  Granville. 
Starring  :  Peggy  Hyland. 

Type  :  Five  reel  drama. 

Stage  :  Nearing  completion. 

Film  :  “  Hennessey  of  Moresby.” 
Stage  :  Starting  shortly. 

Hardy. 

Address  :  13,  Gerrard  St.,  W.l. 
Film  :  “  The  Adventures  of  Billy 
Bun  ter.” 

Stage  :  Scheduled. 

Harma  Clarendon. 

Address  :  16,  Limes  Road,  Croydon 
Phone:  Croydon 921  and 2084. 

Not  working. 

Hepworth  Picture  Plays. 

Address  :  Walton-on-Thames. 
Phone  :  Walton  16. 

Route  :  From  Waterloo.  Fare  : 
1st  4s.  11  ich,  3rd  2s.  6d.  ;  R.T., 
1st  7s.,  3rd  4s.  4£d. 

From  Waterloo :  A.m.,  7.0, 

8.0,  9.20,  10.20,  11.20;  p.m., 
12.20,  1.20,  2.20,  3.20,  4.20,  4.54, 
5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  S.20,  8.55,  9.20,  10.20, 
11.34. 

From  Walton  :  A.m.  7.59,  S.29, 
8.41,  8.56,  9.9,  9.46,  10.10,  11.10  ; 
p.m.,  12.10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44,  6.10.  7.10,  8.10,  9.10, 

10.10,  10.35,  11.34. 

Film  :  Not  announced. 

(Director:  Henry  Edwards. 


STUDIO  MANAGERS 

are  earnestly  requested  to  co-cperate  with 
us  in  keeping  this  record  accurate  and  up- 
to-date  by  returning  the  postcards  we  send 
them  each  week  with  full  details  of  their 

CURRENT  PRODUCTIONS 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


M 


'Phone 


DEBRIE 


99 

Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W.  i 


September  16,  1922 


THE  MOTION  PICTURE  STUDIO 


FULL  PARTICULARS  OF  CURRENT  PRODUCTIONS,  ROUTES 
AND  FARES  FOR  REACHING  THE  STUDIOS 


* 


Ideal. 

Address  :  Boreham  Woods,  Elstree, 
Herts. 

Phone  :  Elstree  52. 

Route  :  Trains  from  St.  Pancras. 
Fare  :  1st  2s.  lid.,  3rd  Is.  91-d.  ; 

R. T.,  double  fare.  A.m.,  7.30, 

S. 0,  8.50,  9.55,  10.45,  11.40; 
p.m.,  12.33,  1.13,  2.35,  3.55,  4.45, 
5.12,  6.2,  6.43,  6.48,  7.15,  8.8. 
9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras  : 
9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.7,  3.56,  4.37,  5.29,  6.21,  6.25, 
7.36,  8.49,  10.14,  10.56. 

Studio  Manager  :  F.  A.  Kendrick. 
Stage  Manager  :  F.  G.  Knott. 
Art  Director:  J.  T.  Garside. 

Film  :  “  Mary  Queen  of  Scots.” 
Director  :  Denison  Clift. 

Star  :  Fay  Compton. 

Scenarist  :  Denison  Clift. 

Stage  :  Preparing  Scenario. 

Film  :  “  The  Grass  Orphan.” 
Director  :  Frank  Crane. 

Star  :  Margaret  Bannerman. 

Stage  :  Cutting  and  Assembling. 

Film  ;  Green  Sea  Island.” 
Director  :  Thomas  Bentley. 

Stars  :  Flora  Le  Breton  and  Clive 
Brook. 

Stage  :  First  week. 

Film  :  “  This  Freedom.” 

Director  :  Denison  Clift. 

Star:  Fay  Compton. 

Scenarist  :  Denison  Clift. 

Stage  :  Preparing  Scenario. 

Film  :  “  Harbour  Lights.” 

Director  :  Tom  Terriss. 

Star  :  Tom  Moore. 

Cameraman  :  W.  Shenton. 

Stage  :  First  week. 

International  Artists. 

Address:  52,  Shaftesbury  A  v.W.  I . 
Film  :  “  Desert  Sand.” 

Director  :  Bert  Wynne. 

Stars:  Doris  Eaton,  Walter  Tenny¬ 
son  and  Warwick  Warde. 

Stage  :  Assembling. 

Film  :  God’s  Prodigal. 

Director  :  Ed.  Jose. 

Cameraman  :  C.  McDowell. 

Stage  :  Casting. 

Isle  of  Man  Films. 

Address  :  The  Manx  Studios, 
Isle  of  Man. 

Not  working. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington. 

Phone  :  Kingston  1617. 

Route  :  From  Waterloo  to  Tedding¬ 
ton.  Faro  :  1st  2s.  7£d.,  3rd 
Is.  4d.  ;  R.T.,  1st  4s.  4£d.,  3rd 
2s.  8d.  From  Waterloo,  a.m., 
7.55.  Then  trains  every  few 
minutes  until  11.55  p.m.  From 
Teddington,  a.m.,  7.51.  Then 

trains  everv  few  minutes  until 
11.1,  11.16,  11.51  p.m.  Bus  27. 
Film  :  “  Sporting  Subjects.” 

Directors  :  H.  B.  Parkinson,  Ed¬ 


win  J.  Collins  and  George  Wynne 
and  Challis  Sanderson. 
Cameraman  :  Theo.  Thumwood. 
Type  :  One  reelers. 

Stage  :  Two  a  week. 

Film  :  “A  Gamble  with  Hearts.” 
Director  :  H.  B.  Parkinson. 
Stars  :  Valia,  Madge  Stuart, 
Milton  Rosmer. 

Stage  :  Second  week. 

Film  :  “  The  Green  Caravan.” 
Director  :  E.  J.  Collins. 

Star  :  Catherine  Calvert. 

Stage  :  Casting. 

Minetva  Films. 

Address  :  110,  Victoria  St.,  S.W.l. 
Phone  :  Victoria  7545. 

Not  working. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 
Phone  :  Shoreham  19. 

Film  :  “  Rogues  of  the  Turf.” 
Director  :  Wilfred  Noy. 

Stage  :  Editing. 

Film:  “Against  Fearful  Odds.” 
Director  :  Wilfred  Noy. 

Stage  :  Second  week. 

Quality  Films. 

Address  :  B.  P.  Studios,  Clapham 
Park. 


Phone  :  Streatham  2652. 

Film  :  One  reelers. 

Director  :  George  A  Cooper. 
Studio  Manager  :  S.  Folker. 
Cameraman  :  R.  Terreaneau. 
Stage  :  One  a  week. 

Raleigh  King  Productions. 
Address  :  Watcombe  Hall,  Tor¬ 
quay. 

Studio  :  Vacant. 

Regulus  Films. 

Address  :  48,  Carnaby  Street, 

Regent  Street,  W.l. 

Not  working. 

Seal  Productions. 

Address  :  171,  Wardour  Street. 

Phone  :  Regent  4329. 

Not  working. 

Screenplays. 

Address  :  Cranmer Court,  Clapham 
Phone  :  Brixton  2956. 

Route  :  Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll. 

Address  :  Temple  Road,  Crickle- 
wood 

Phone  :  Willesden  3293. 

Route  :  Bus  No.  16. 


A  WELL-KNOWN 
AMERICAN 
FILM  DIRECTOR 


WRITING  IN  THE 

“DAILY  SKETCH”  SAYS. 

• 

“I  know  the  name, age  and  type  of  almost 
every  American  picture  star.  I  know 
all  about  them.  Yet ,  I  do  not  recall 
at  this  moment  the  name  of  a  single 
English  picture  star." 


YOU  CANNOT  AF¬ 
FORD  TO  ALLOW 
THIS  STATE  OF 
AFFAIRS  TO  EXIST 
SO  FAR  AS  YOU 
ARE  CONCERNED. 


J  Advertising  rates  in  the  J 

i  MOTION  PICTURE  ; 
I  STUDIO:  . 

1  Front  Page  -  £10  10  0  | 

I  Inclusive.  I 

1  Full  page  (inside)  5  10  0  j 
!  Half  page  „  3  0  0  ■ 

J  Quarter  page  „  1  15  0  | 

I  Smaller  spaces  at  the  j 
•  pro  rata  rate  of  5s.  per  i 
J  single  column  inch,  j 
i  Reduction  for  series  I 


Studio  Manager:  J.  Grossman 
Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart 
Rome  and  Edith  Bishop 
Cameraman  :  D.  P.  Cooper. 
Stage  :  Seventh  week. 

Film  :  “  Petticoat  Loose.” 
Director:  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  Lionelle 
Howard. 

Stage  :  Second  week. 

Film  :  “  Top  of  the  World.” 
Director  :  Maurice  Elvey. 

Stage  :  Scheduled. 

J.  Stuart  Blackton. 

Address  :  Bush  House,  Aldwyeh. 
Phone  :  Central  1935. 

Film  :  Not  Announced. 

Director  :  J.  Stuart  Blackton. 

Torquay  &  Paignton  Photoplays. 

Address  :  Public  Hall,  Paignton. 
Not  working. 

Union  Films. 

Address  :  Strand  Street,  Liverpool. 
Phone  :  Central  (Liverpool)  325. 
Not  working. 

Walker  Boyd  Sunshine  Produc¬ 
tions. 

Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. 

Address  :  Princes  Studios,  Kew 
Bridge, 

Phone  :  Chiswick  574. 

Route  :  Bus  Nos.  27,  105. 

Broad  Street  to  Kew.  Fare  : 
1st  Is.  4d.,  3rd  9d.,  RT.,  1st 
2s.  0£d.,  3rd  Is.  4d.  A.m.,  8.2, 

8.20,  8.45,  9.0,  9.47,  10.17,  10  47, 

11.17,  11.47;  p.m.,  12.17,  12.47, 

1.17,  1.47,  2.17,  2.47,  3.17,  3.47, 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40, 
6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 
8.47,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street  : 
A.m.,  9.40,  10.8,  10.38,  11.8, 
11.38;  p.m.,  12.8,  12.38,  1.8, 

1.38,  2.8,  2.38,  3.8,  3.38,  1.8,  1.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.2'*, 

6.38,  7.8,  7.38,  8.8,  8.38,  9.8,  9.38. 
Film  :  “  The  Pruning  Knife.” 
Director  :  Walter  West. 

Star  :  Florence  Turner. 

Stage  :  Sixth  week. 

Welsh  Pearson. 

Address:  41-45,  Craven  Park, 
Harlesden,  N.W.  10. 

Phone  :  Willesden  2862. 

Route:  Bus  No.  IS. 

Film:  “The  Romany.” 

Star  :  Victor  McLaglen. 

Director  :  Martin  Thornton. 
Cameraman  :  Percy  Strong. 

Stage  :  Fifth  week. 

Film  :  “  Squibs  Wins  the  Calcutta 
Sweep.” 

Director  :  George  Pearson. 

Star  :  Betty  Balfour. 

Cameraman  :  Emile  Lau3te. 
Scenarists;  Hugh  E.  Wright  and 
George  Pearson. 

Stage  :  Fifth  week. 


15 


WATCH  THIS 
PAGE  FOR 
IMPORTANT 


*  A 


FRANK  ZEITLIN, 

Booking  Agency  for  Film  and  Stage, 

3,  Gt.  Windmill  Street, 
Piccadilly  Circus,  W.-l 


’Phone:  REGENT  6696. 


v  i 


Printed  and  Published  by  ODHAMS  PRESS  Ltd..  Long:  Acre,  W.C.2. — September  6,  1922 


FIRST  KINEMA  CLUB  PRODUCTION 

™E  CRIMSON 

CIRCLE 

Will  be  Trade  Shown  by  Granger’s  Exclusives  on 

Thursday,  October  5,  at  11.15, 

at  NEW  GALLERY  KINEMA. 

The  next  issue  of  the  “Motion  Picture  Studio 
will  he  devoted  to  this  Unique  Production. 

SEE  PAGE  FOUR  OF  THIS  ISSUE. 


THE  MOTION  PICTURE  STUDIO 


September  23,  1122 


ATHALIE  DAVIS 

Juvenile  Leads. 
Comedy  &  Emotional  Parts. 

DISENGAGED. 

Latest  Film  : 

“Hi  ins  Ancient  and  Modern.” 
Coins.  :  70,  Goldhurst  Ter¬ 
race,  Hampstead,  N.W.6. 
’Phone  Hampstead  £66. 


NOEL  GRAHAME 

Heavy  Character  &  Comed3^. 
Heavy  lead  :  “  Bladys  of  the 
Stewponey,”  “Cost  of  a  Kiss,” 
“  Britain’s  Naval  Secret,”  etc. 

12,  Glebe  Place, 

Chelsea,  S.W.3., 
and  Kinema  Club. 
’Phone:  Regent  2131. 
Photo  by  Havana 


FRED  WRIGHT. 

The  Crazy  Hunchback 
in  the  colour  film 
“The  Glorious  Adventure,” 
Covent  Garden  Theatre. 
THE  COPSE, 

WES  l'  DKAYTON 
'Phone Yiewsley  82,  or 
Kinetna  Club. 


EVELYN  BRENT 

Latest  Productions, 

“  Demos,”  “  Sonia,” 

“  Laughter  and  Tears,”  etc. 
At  present,  Famous  P.-L. 

Bus.  Corns  ,  Sidney  Jay, 
Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av. ,  W.i 
Regent  4C29. 


GORDON  HOPKIRK 

Leads- Ideal:  'Sybil,’  ’Ernest 
Malt  ave  s  ’  Direct:  hour 
Men  in  a  Van.’  Masters  PFrua 
D  avolo,’  ’  Br  de  of  Lammer- 
moor,’  ‘Faust,’  ‘Maritana,’ 
‘Jane  Shore.’  ‘Ste'la1: 
P.  &  B  ‘Settled  in  Full.’ 
H.  &  C  :  ‘The  Queen’s  Secret.’ 
Aitistic:  ’The  Skipper’s 

Wooing’  Addrrss: 

"  thool  Hon  e,  Tower  Street, 
VV.C.2  or  Ki  ema  C  ub. 


MARY  ODETTE 

Just  concluded  :  “  The  Faith¬ 
ful  Heart”  and  “  W  ndows  ” 
(Come  y  Theatre) 

Latest  Rele  ses  : 

“Wondeiful  Year’ 

“AU  Roads  Lead  to  Calvary.” 
All  corns.  :  Sidney  Jay, 

Sui  e  13,  Palace  House, 
128-132,  Shaftesbury,  Av.,  W.i  , 
Resent  4  329. 

Hp-  -  il 

BliM  .  fl||S 

Dramat’C  —  Character — 
Humorous. 

English,  Continental, 
A  J3m  American  Experience. 

■  1 1  ‘7.t,  Lalchmere  Road. 

Lavender  Hill,  S.W.ll, 

Telephone:  Battersea  21. 

ENA  BEAUMONT. 

Leads  in  “The  Greater  Love,” 

“ The  Golden  Web.”  “  All  the 
Winners,”  “  Patricia  Brent, 
Spinster,”  "Our  Girls  and 
Their  Phvsique,”  “  Settled  in 
Full,”  “  Watching  Eyes, ’’etc. 
21,  Breakspears  Road. 

Broikley  S.E  4. 

'Phone  :  New  Cross  622. 

1  _ 1 

I 


WRIGHT, 

Famous-Lasky,  Stoll,  Lon¬ 
don  Samuelson,  Davidson, 
Ideal,  Broadw  :st,  etc. 

7  years  Film  Experience. 
8a,  GOLDERS  WAY. 
GOLDERS  GREEN,  N.W.L 
or  Kinema  Club. 


F.  C  R  E  M  L  I  N  . 

5  Montem  Road,  Forest  Hill.  S  E.23,  or  Kinema  Club. 


ARTISTES 


ERIC 

LEIGHTON 

“At  last  a  veritable 
Prince  amorg  stage 
princes  :  easy,  grace¬ 
ful,  debonair.  .  .  .  ’’ 

—  The  Tines.  | 

LEEDJ  ONLY. 

9,  Albany  Courtyard, 

W.I. 

Phone  :  Regei.t  5394. 


SYDNEY  WOOD, 

Juv.  Leads  in  “The  Warri  > 
Strain,”  “Her  Benny,”  “  Ever 
Open  Door,”  “  Bars  of  Iron,” 
“  Tlie  Flame,”  “  1  be  Will,” 
“  Double  Event.”  “David  and 
Jonathan,”  etc  Address  ; 
The  Laurels  Beverley  Road, 
Anet  ley,  S.E. 

'Phone  :  Ch  incerv  7080-7031. 


GEORGE  KEENE 

Star  Lead.  Disengaged. 
Fea  'wing—  “  Black  Sheep,” 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters,” 

“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 

Add  1  ess  : 

121b,  Church  St.,  Croydon 
’Phone  :  Croydon  835. 


DAISY  BURRELL 

Just  fini.-hed  pln\  ing  lead  in 
*'  Cindei  ella  ’’  panto. 

Last  Film  :  Star  part  in 
1  Pride  of  the  Fancy.  ’ 

OPEN  TO  OFFERS. 
39,  Avtnir’e  Real, 

West  Kensington. 
’Phone  :  Western  675. 


ALEC.  ALEXANDER 

Juvenile  Artiste.  Jnr. 

OFFERS  WANTED. 
All  corns.:  163,  Hackn?y 
Road,  E  2. 

Phone  :  Dalston  2583. 
or  KINEMA  CLUB, 
Regent  2131. 


LILIAN 

HALL  DAVIS. 

JUVENILE  LEADS. 
Samuelson,  Ideal,  Gra¬ 
ham  Wilcox,  etc.,  etc. 
All  corns.  : 

Wc  r  on  Hall, 
Isleworth,  Middlesex 


THELMA 

MURRAY 

Character  &  Emotional  parts 
Just  finished  work  in  “Crei- 
t  on  lor  Raleigh  King  Films, 
now  playing  lead  for  Masters. 
All  corns  •  “LYN  ALE  ” 
OAKLEY  RD. 
WHYTE  I  E  4  FE,  f  URREY, 
or  to  the  Kinema  Club. 


MARGARET 

HOPE, 

Character  &  Juvenile  Leads. 

Late  Id  al,  Masters,  Stolls, 
etc.,  etc. 

42,  Bland 'ord  Square, 
Matylebo  te,  N.W  .1. 
Phone:  Padd.  7211. 


SYBIL  J  A  M  E 

Juvenile  and  Character  Parts. 

C/o  MOTION  PICTURE  STUDIO 


ARTISTES 

• 

•  •  •  • 

WARREN 

HASTINGS 

1  "  ajf 

;  if  'H  '#•  j 

5,  rOND  PLACE.  ■ 

CHELSEA 

A  -U., 

S.W  3. 

;  rn  *  ,  lx.  . . t 

JAMES  DONATUS 

1912-?.  “  Vee-Dee  F.lms,”  Marple. 

1922.  Just  completed  “  Paolo, ”  Gipsy  lead  in 
1  Gipsy  Blood,’’  for  Daisy  Productions.  “Robert 
Sputhev,”  in  “A  Piince  of  Lovers’’  (Gaumont). 
“  Surgeon,”  in  Henry  VIII.”  (B  &  C.). 
Alliance,  Stuart-Blackton.  Idea1,  Sa  me  son,  etc 
And  the  Ad  'rrss  is  :  394b,  Uxbridge  Rd. ,  W.i 2. 


ADELINE  HAYDEN  COFFIN 

Sympathetic  Mother,  Grande  Dames. 

Character  Parts,  “  Mrs.  Gatty,’’  in  “Christie 
Johnstone  ’’  (Broadvvest),  “  Margaret  Howe’’ 
in  “  Beside  the  Bonny  Brier  Bush  ’’  (Lasky). 

55.  Campden  St.,  Kensington,  W  8. 

Tel.  :  Park  3623. 

HUGH  MILLER 

DISENGAGED. 

Corns.  :  Frank  Zeitlin, 

3,  Great  Windmill  Street,  W.  1. 

’Phor.e  :  Regent  6696. 


MILTON  ROSMER 

INVITES  IMMEDIATE  OFFERS, 
f  orthcoming  Releases — 

“GENERAL  JOHN  REGAN”  (Stoll) 

“  ROMANCE  OF  WASTDALE  ”  ,, 

“PASSIONATE  FRIENDS” 

“WOMAN  OF  NO  IMPORTANCE”  ( Ideal) 
16,  WEYMOUTH  STREET,  W.I. 
’Phone:  Langham  2243. 


ARTHUR  PUSEY. 

At  present  South  Africa  . 

Starring  in  “  The  Blue  Lagcon”  for  I.V.T.A. 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.I. 


THIS  SPACE  TO  LET 
17s.  6d.  for  13  insertions 


MARIE  AULT, 

Character  and  Comedy. 

235,  Kings  Road,  Chelsea 

R.  LUCITA  SQUIER, 

Scenarios  and  Originals.  Five  vear-  with  Marshal 
Ne  Ion  Productions  “PENROD.” 

Address:  44,  Great  Russell  Street,  LonJon,  W.C.2, 


THIS  SPACE  TO  LET 
£2  10  0  for  13  inserti  ns 


COSTUMIER,  .  .  . 

Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W, 

’Phene;  Gerrard  612. 


2 


s 


EPTEMBER  23,  IQ22 


THE  MOTION  PICTURE  STUDIO 


CAMERAMEN.  .  .  . 


JOHN  J.  COX 

“Four  Feathers,1’  ‘'Broken  Road,” 

“  Romance  01  Wastdale,"  etc, 

LATEST; 

”  Dick  Turpi. 1  ”  for  Stoll  P  cture  Productions,  Ltd., 

41,  B '  RROWG ATE  ROAD,  CHISWICK.  W.4. 
’Plione — Chiswick  294, 


ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN — fvj 
:  SCIEN  riFIC  OUTFIT.  : 
Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc.  j* 

9,  Gt.  Newport  Street,  W.C.2. 

’Phone — Regent  2131. 

L.  G.  E  G  R  O  T 

EXPERT  CAMERAMAN. 

“The  Better  ’Ole,”  etc.,  etc., . 

. “  The  Wonderful  S  ory.  '■ 

Offices  and  Dark  Rooms  : 

2B,  Si  reatham  PI  ace,  S.W.2. 

’Phone:  Streatham  3085. 


JOHN  SALTER.  Estd.  1896. 

Cameras— Projectoi  s—  Repairs, 

13,  Featherstone  Buil  lings,  Holborn,  W.C. 

P  ione;  7408  Chancery. 


To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
-SUPPLIED 

From  your  own  Photo,  in  best  glossy  style  :  — 
One  position  17/6  per  gross. 

Two  positions  30 /-  ,, 

Apply — 

PICTURES,  LTD.,  88,  Long  Acre,  W.C. 2. 


LEICHNERS 

WORLD 
RENOWNED 


George  K.  Arthur 
says : — ■ 

“  You  can’t  b  a  it.” 


reiNT 

M  5 


&CRUW 


Obtainable  from  all  Chemists 
and  Theatrical  Co-tumiers. 


If  any  difficulty  in  obt  ining 
same  apply  direct  to 

So’e  British  Agents  : 

VANITIES  LTD., 
15a,  Whitcomb  St. 


(Off  Leicester  Sq.), 


W.C.2 


GREASE 
PAINTS 

&  POWDERS 


WHO’S  WHERE. 


Several  directors  have  explained  to  us 
trie  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 


“  rpHE  most  useful  column,  to  my  mind, 
end  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  it  ‘Who’s 
Wh  're.’  Names  in  alphabetical  order, 
with  correct  addresses,  a'e  very  useful.” — 
CHALLIS  N.  SANDERSON. 

“  T  PERSONALLY  would  like  to  see 
mere  artistes  using  \  our  s  'ace  under 
the  herding  of  ‘  Who’s  Where.’  ”  — 

H.  B.  PARKINSON 
“  'T’HE  column  which  is  of  mrst  service 
to  us,  and  w  ich,  I  think  eoul  1  be 
further  developed,  is  ‘Who’s  Where.’  ”  — 
NORMAN  WALKER  ("a  t.),  Alliance  Films. 


ATWOOD,  ALBAN :  25,  Stanley  Crescent, 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  .  197A,  LatchmereRoad, 
S  W.  1 1 .  Battersea  2 1 . 

BROOK,  CLIVE  :  12,  Ab.rcorn  Piace  N  W. 
Hampstead  31J83. 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS.  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS  :  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344 

CAREW,  JAMES,  15  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3904 

CHESNEY,  ELIZABETH  :  c'o  Miss  M  rris, 
25,  Clevedon  Gardens,  W.2.  (F  at  4j. 
Padd.  5844. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
Redcliffe  Grdens,  SAV.  10.  ’Phone: 
Kensington  4033. 

DOUGLAS,  ERNEST  A.:  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.i  1.  Park  2077. 

ESMOND,  ANNIE  ;  43,  Richmond  Road, 
Westboume  Grove,  W.2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5 

bORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

FANE,  DOROTHY  :  12A.  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 

GRACE,  ADELAIDE,  103,  Morshead  Man¬ 
si  ns,  Maida  Vale,  W  9. 

GREGORY,  FRANK,  Character ,  107,  St. 
Alban’s  Avei  ue,  W.4. 

HALLIDAY,  LENA,  14,  Fernwood  Avenue, 
Streatham,  SAV. 

HARRIS,  GEORGE,  22,  Bernard  Street, 
Russe  1  Squ  ire,  w.C.l.  Museum  3880. 

HASTINGS,  WARREN,  5,  Pond  Place, 
Chelsea,  SAV. 3.  Western  7160. 

HOWARD,  LIONELLE:  108,  Alderbrook 
Ro  cl  B  1  ham,  S  W.  2. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.  5.  Western  1936 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Fleathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  Sq,  W.C.  Museum  7977 


NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Str.  atham  264. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell,  S.  E.5. 

RAYNER,  MINNIE:  Ki  gwater  Cottage, 
Church  Walk,  Thames  Ditton. 

ROME,  STEWART  :  10,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  32.  Lonsdile  Man1  ions, 

rZ. Maida  Vale.  Maida  Vale  2177.  1 

SMALL,  KNIGHTON,  59,  Gloucester  Cres 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  62,  Upper 
Richmond  Road,  East  Putney,  S.W.  15. 
or  Kinema  Club. 

STEERMAN  A.  HARDING  :  56  Portland 
Road,  W.i  1.  Park  2529. 

STERROLL,  GERTRUDE  :  14.  Queen’s 

Road.  St.  John’s  Wood,  N.W. 8. 

TEMPLETON,  BEATRIX:  20,  Foxglove 
St-eet,  Wormholt  Estate,  W.12. 

THATCHER,  GEORGE  :  33,  Denbigh 

Strei  t,  Be’grave  Road,  S.W.  Victoria 
2060. 

TREE,  MADGE  :  15,  Lancaster  Court,  New¬ 
man  St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Road 
Barnes,  S.W.  13.  Putney  1945. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 
2131. 

WALCOTT,  ARTHUR:  57.  Church  Street, 
Kensingtcn,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.  ’.  Fegcnt  2131. 

Two  tines ,  12s.  6d  per  thirteen  insertions, 
or  £ 2  5s.  for  a  year,  prepaid. 

Extra  lines,  is.  per  insertion. 


SCENARISTS  .  .  .  . 

GERALD  DE  BEAUREPAIRE, 

Editing  Titling,  Continuities. 

62,  Fuxbourne  Road,  Balham,  S.W. 17. 

G.  FORT  BUCKLE, 

Scenarios 

(Originals  ar.cl  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M  LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  \V  !, 

’Phene  :  Regent  4747. 
or  Kinema  C  ub,  Regent  2131. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 
NOW  BACK  IN  LONDON. 


3 


THE  MOTION  PICTURE  STUDIO 


September  23,  1922 


THE 


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4 


September  23,  1922 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93  Long  Acre, 
London,  W.C.2. 


Vol.  2  No.  68 


Telegrams— 
Southernwood, 
Rand,  London. 
Telephone — 
Gerrard  9870. 


Sept.  23,  1922 


The  Flogging- horse. 

NE  of  the  necessary  weaknesses  of 
press-criticism  of  films,  and  one 
that  does  not  apply  to  the  stage  so  much, 
is  the  fact  that  often  artistes  are  condemned 
for  apparently  defective  performances, 
when  all  the  time  they  are  merely  following 
the  instructions  of  the  director.  Or  it 
may  be  that  acting  which  was  meant  to 
portray  a  certain  scene  in  the  script  appears 
on  the  screen  with  an  altogether  different 
sub-title,  which  makes  the  acting  look 
utterly  ineffective.  It  is  too  often  the 
case  that  the  poor  artiste  is  made  the 
flogging-horse  of  the  films  :  made  to  bear 
the  brunt  of  the  criticism  of  what  is  really 
the  defective  work  of  the  director  or  the 

impossibilities  of  the  system. 

*  *  * 

The  Soul  with  a  Body. 

is  of  the  most  vital  importance  that 
both  the  screen  and  the  stage  should 
do  all  within  its  power  to  preserve  the 
art  of  acting.  Drama  will  die  and  the 
screen  become  a  silver-sheet  of  fitful 
shadows  if  acting  is  allowed  to  resolve 
itself  down  to  mechanical  processes,  un¬ 
intelligent  gestures,  and  unthinking  facial 
expressions.  There  is  as  much  an  art  in 
screen  acting  as  in  stage  acting  :  there  is 
as  much  an  art  in  both  as  in  sculpture  or 
painting  or  music :  the  same  laws  and 
fundamental  principles  that  govern  all 
other  forms  of  art  apply  with  equal  force 
to  the  histrionic  art.  In  the  first  place, 
an  artiste  is  not  a  man  with  a  soul,  but  a 
soul  with  a  body — the  artistic  temperament, 
the  delicate  fibre  of  the  mentality,  is  inborn 
and  cannot  be  artificially  acquired.  This 
fact  must  be  accepted  by  the  whole  pro¬ 
fession  as  fundamental.  It  is  a  cardinal 
point  in  our  argument  for  it  is  the  con¬ 
clusive  proof  against  the  illogical  type- 
system.  (And  it  is  our  view  that  the 
type-system  is  eating  away  the  vitals  of  the 
honoured  profession  of  acting,  both  on  the 
screen  and  the  stage.) 

*  *  * 

Realism  or  Illusion  ? 

QBSERVE  the  glorious  fallacy  of  the 
type-system  for  a  moment.  The 
director,  who  is  a  type-maniac,  argues  that 
by  using  a  “  type  ”  instead  of  an  artiste, 
he  will  gam  complete  realism.  But  you 
cannot  have,  nor  do  you  want,  complete 
realism  on  the  screen.  The  public  would 
not  stand  for  it.  Carried  to  its  logical 
conclusion,  you  would  have  to  let  the 
audience  see  the  blood-spattered  hole  in 
the  dead  hero’s  temple ;  and  to  make 
the  dustman  expectorate  on  the  drawing¬ 


room  floor  ;  and  the  heroine  to  be,  possibly, 
squint-eyed.  Realism  would  destroy  the 
charm  of  a  screen  romance  as  surely  as  the 
rays  of  the  sun  will  reveal  the  dustiness  of 
my  lady’s  boudoir.  The  art  of  the  screen 
is  not  based  on  realism  but  on  illusion.  Let 
that  fact  be  mentally  digested.  And  so 
soon  as  the  illusion  of  the  screen  is  destroyed 
the  attraction  of  the  kinema  has  gone.  The 
kine-going  public  likes  pretty  heroines  ; 
handsome  and  good  heroes  ;  evil-looking 
and  bad  villains.  In  real  life  many 
heroines  are  plain  and  most  good  men 
unpretentious.  Therefore,  realism  has  to 
give  way  to  illusion.  And  the  public  is 
happy. 

If  There’s  no  room  for 
human  porcupines  in 
this  or  any  other  business. 

That  man  whose 
prickles  stick  into  his 
fellow  worker  won't  do 
or  get  much  work. 
When  a  man  is  willing 
to  work  with  other  men 
in  a  way  that  other  men 
are  willing  to  work  with 
him,  good  results  will 
be  seen. 

Tf  Try  to  lose  your  sharp 
points  and  you'll  get  on 
smoothly  v\  ith  the  other 
fellow. 

Evils  of  Types. 

should  also  be  noted  that  the  “  type 
who  is  not  an  artiste  (there  are  men 
like  Sydney  Paxton  and  A.  Harding  Steer- 
man  who  are  both  “  types  ”  and  artistes  ; 
but  they  are  artistes  first — artistes  spiritu¬ 
ally  and  types  physically)  wi  11  kill  his  part 
by  h  is  realism.  The  bank  manager  will 
play  a  very  stodgy  wooden  bank  manager 
part ;  the  clergyman  will  be  a  too-goody- 
goody  eyes-to-heaven  parson  ;  the  washer¬ 
woman  will  be  too  generous  with  her 
gesticulations.  But  an  artiste  will  be  the 
perfect  type  because  (1)  he  has  a  sympa¬ 
thetic  soul  that  can  absorb  the  essential 
characteristics  of  the  original  of  the  part  ; 
(2)  he  can  make-up  convincingly  ;  (3)  he 
has  mastered  the  technique  of  the  screen. 
All  this  he  has  developed  in  the  course  of 
years  of  hard  and  constant  study  and 
labour.  But  with  the  “  type,”  it  is  all 


different.  Whether  he  has  brains  or  not, 
does  not  matter  ;  in  fact,  it  is  better  that 
he  has  not,  for  it  is  easy  to  direct  a  brainless 
puppet. 

*  *  * 

Glutting  a  Glutted  Market. 

EVERTING  to  our  comments  on  this 
page  last  week  with  reference  to 
Norma  Talmadge’s  press  stunt  to  find  ”  a 
British  film  queen,”  we  are  now  able  to 
reassure  the  British  public  which  ”  awaits 
a  British  star,”  that  in  the  space  of  a  few 
weeks  this  new  ”  British  film  queen  ”  will 
have  been  established  on  the  throne.  The 
Daily  Sketch  says  that  it  has  received 
thousands  of  applicants,  nearly  all  of  whom 
are  in  the  modest  walks  of  life.  It  adds 
that  “  the  lightning  leap  into  the  world’s 
arena  of  some  of  the  American  actresses 
will  appear  a  laborious  performance  com¬ 
pared  to  the  rise  of  the  lucky  girl.”  There 
is  Dorothy  Townsend,  who  reminds  the 
Daily  Sketch  of  Mary  Pickford,  and  ‘‘who 
at  the  moment  is  employed  in  a  clothing 
factory.’  ’  And  Jessie  Hunter,  “  who  helps 
her  mother.”  And  Peggy  Dalkeith,  "  who 
is  out  of  employment.”  And  Emily 
Ridings,  who  is  ”  an  attendant  in  a  local 
kinema.”  And  Gladys  Gaulter,  who  is 
not  nervous,  ‘‘  for  she  sings  frequently  at 
local  concerts.”  And  we  read  that  “  some 
of  the  highest  families  in  the  land  have 
submitted  members  who  seek  to  become 
Miss  Talma4ge’s  protegees.” 

*  *  * 

Tactless  Publicity. 

hear  of  certain  of  our  British 
actresses  who  have  also  “  applied 
for  the  job.”  We  should  suggest  in  all 
seriousness  that  every  one  of  the  many 
hundreds  of  experienced  British  screen 
actresses  should  write  to  Miss  Norma,  and 
protest  against  this  stuntism  as  being,  in 
view  of  the  starvation  and  distress  in 
British  filmland,  in  very  bad  taste.  Not 
that  the  lucky  girl  is  really  going  to  be 
made  a  British  star.  She  is  not.  She’s 
going  to  be  taken  out  of  this  country  and 
made  into  an  American  film  actress.  She  is 
going  “  to  be  lifted  out  of  obscurity  and 
“  taken  from  London  to  New  York,  from 
New  York  to  Los  Angeles,”  and  “  there  be 
welcomed  and  helped  to  stardom.  When 
the  competition  is  closed,  the  lucky  girl 
is  to  be  given  “  a  great  social  reception 
and  a  triumphal  departure  from  the 
United  States.”  Can  we  appeal  to  Miss 
Talmadge  to  cease  this  tactless  publicity 
stunt  and  do  something  really  practical 
to  help  the  oppressed  and  distressed 
British  screen  artistes  ? 


5 


THE  MOTION  PICTURE  STUDIO 


September  23,  1922 


THE  STUFF  TO  GIVE 


by  F.  RUPERT  CREW 


VERY  slowly  but  very  surely  this  industry  of  ours  is  learning  many  things. 

Though  production  in  this  country  is  still,  as  a  whole,  a  fair  way  behind 
America,  there  is  little  doubt — and  ample  proof — that  extraordinary  progress  has 
been  made,  and  valuable  knowledge  attained,  during  the  past  two  years.  This 
knowledge  and  progress  could  only  have  been  reached  through  experience.  By  sheer 
adversity — 1920  and  1921  have  been  the  hardest  years  known  in  the  history  of  the 
kinema — directors  and  others  have  been  forced  into  the  realisation  of  the  fact,  that  the 
movies  of  1922  cannot  remain  as  they  were  content  to  do  during  those  years  of  war. 
Gradually  we  are  all  learning  that  our  industry  is  a  form  of  dramatic  art  besides  being 
a  mere  business,  or  pleasurable  pastime  for  those  gambling  financiers  who  are  never 
content  to  leave  their  lucre  out  of  the  frying-pan.  In  fact,  as  Hugh  Miller  so  ably 
pointed  out  to  us  only  the  other  week,  it  is  most  assuredly  an  art  before  it  is  a  business. 

THINGS  are  changing  every  day  in  the  “  movie  game.”  Slowly  there  is  coming 
about  a  closer  co-operation  between  renter  and  exhibitor.  At  long  last,  these 
two  gentlemen  have  come  to  realise  that  they  are  equally  dependent  upon  each  other. 
The  average  exhibitor,  with  a  streak  of  horse-sense,  now  realises  that  he  dare  no  longer 
accept  any  film  offered  him.  Likewise,  the  renter  has  discovered  that  he  cannot  hire 
out  any  film  he  offers.  Both  these  gentlemen  now  realise  that  they  are  up  against  the 
problem  of  making  their  business  yield  even  a  mcdest  profit  line.  The  exhibitor 
knows — though  only  whispers  the  fact — that  the  Entertainment  Tax  is  not  the  only 
obstacle  with  which  he  has  to  contend.  Neither  can  he  attribute  his  empty  theatre 
to  the  effects  solely  of  unemployment.  He  is  inclined  to  believe  that  the  trouble  has 
a  deeper  root.  Is  it  that  the  kinema-public  is  tiring  of  the  movies  ?  For  some 
while  he  has  been  under  the  suspicion  that  his  patrons  prefer  to  stay  away  from  his 
show  because  he  is  unable  to  provide  them  with  more  varied  programs. 


LET  us  take  the  case  of  the  average  better-class  picture  theatre  in  the  better- 
class  London  suburb.  What  kind  of  entertainment  do  we  usually  find  ? 
Last  week,  for  instance,  I  dropped  in  at  a  very  palatial  theatre  in  a  typical  London 
suburb.  The  performance  commenced  with  the  Topical  Budget.  This  was  followed 
by  “  The  Glorious  Adventure  ” — a  film  of  entertainment  sufficient  in  itself — a  musical 
interlude,  much  too  long,  and  finally,  a  heavy  sex  American  picture  of  at  least  six 
reels.  This  proved,  to  my  way  of  thinking,  a  typical  example  of  a  boring  program. 
How  much  better  the  entertainment  would  have  been  if  it  had  been  constructed  as 
follows — (1)  Topical.  (2)  One  or  two-reel  drama.  (3)  Interest  or  travel  (one  reel). 
(4)  “  The  Glorious  Adventure.  (5)  One-  or  two-reel  veal  comedy — not  slap-stick. 

CHATTING  to  the  manager,  after  the  performance,  I  ventured  to  outline  the  above 
program.  He  listened  to  all  I  had  to  say,  then  remarked  :  "I  agree  with  you 
absolutely.  No  one  is  more  in  favour  of  the  varied  program  than  myself.  But  the 
trouble  is  to  vary  the  program.  You  refer  to  these  one-  or  two-reelers.  All  I  can 
obtain  at  present  is  the  usual  appalling  slap-stick  or  low  comedy,  for  which  my 
patrons  would  prefer  to  stay  away  rather  than  witness.  If  you  can  put  me  wise  to 
any  company  turning  out  the  one-  or  two-reelers  of  the  kind  I  want — artistic  and 
entertaining  in  every  sense  of  the  word — I’ll  hire  them  willingly.  At  present,  I  know 
of  only  one  company  devoting  its  interests  to  the  kind  of  stuff  I  require.  As  you  say, 
the  kinema-public  is  fed-up  with  the  double-feature  program  which  offers  no  variety. 
But  the  only  way  we  can  really  work  that  quality  into  our  program  is  to  obtain  really 
worth-while  short  stuff.  We  need  one- or  two-reelers  constructed  on  five-reeler  lines — - 
that  quality.  We  don’t  expect  to  get  good  stuff  at  junk  rates.  If  we  can  obtain 
two  short  films  and  an  interest  film  for  the  price  I’ve  had  to  pay  for  the  five-reeler 
we’re  running  with  ‘  The  Glorious  Adventure  ’  to-day — a  good  price,  mind — why,  of 
course.  Personally,  I  would  willingly  pay  a  little  more — if  the  stuff  were  really  good. 
As  for  other  showmen,  well,  though  we’re  not  credited  with  much  sense  as  a  whole, 
I. think  I  can  answer  safely.  The  fact  is,  sooner  or  later,  the  double-feature  program 
has  to  go — and  the  sooner  we  get  good  short  stuff  the  better  for  us  all  !  ” 


THIS  hint,  without  much  further  elaboration  on  my  part,  I  am  content  to  pass  on 
to  British  producing  concerns.  Without  question,  here  is  a  field  for  production 
which  has  been  ignored  for  too  long.  It  offers  limitless  possibilities.  This  fact  was 
confirmed  some  time  ago  when  George  A.  Cooper  presented  his  first  series  of  one- 
reelers  to  the  Trade.  So  successful  was  the  Trade  show,  that  Cooper  at  once  got  to 
work  on  a  second  series.  As  is  probably  known,  these  excellent  little  films  have 
been  most  capably  adapted  from  strong  short  stories  which  have  appeared  in  such 
magazines  as  Pan.  Cooper,  a  man  of  experience  as  both  director  and  exhibitor, 
has  truly  grasped  the  vital  need  for  producing  short  stuff  on  super  lines.  He  has  given 
his  little  pictures  not  only  artistic  and  conscientious  direction,  but  has  utilised  star 
casts,  proper  sets,  lighting  and  fine  photography.  He  is  to  be  congratulated  upon  his 
insight  and  courage.  One  can  only  hope  that  his  little  pictures  will  prove  a  turning- 
point  in  both  production  and  exhibition  when  they  are  released.  For  there  is  no  reason 
why  the  short  film  should  not  find  as  much  favour  with  the  kinema-public  as  the  five- 
reeler  has  done  in  the  past.  Variety,  so  we  are  told,  is  the  spice  of  life.  Variety,  I 
venture  to  add,  is  the  spice  of  kinema  entertainment.  At  present,  the  average  kinema 
performance  is,  without  a  shade  of  doubt,  a  very  long  and  usually  boring  affair.  I 
know  that  whenever  I  want  a  quiet  nap  of  an  afternoon  I  go  along  to  our  local  picture 
theatre,  where  for  the  modest  sum  of  eightpence  I  can  be  lured  into  sleep  by  the  tinkling 
piano  which  accompanies  the  “  stirring  ”  but  lifeless  drama  “  now  showing.” 

The  short  stuff  is  the  stuff  to  give  ’em  ! 


FILM  SHARKS 

MAYSIE  GREIG 

Hundreds  of  girls,  dreaming  of  fame  .and 
fortune  on  the  “movies,”  fall  into  the  hands 
of  bogus  kinema  producers  every  year.  By 
fraudulent  promises  and  skilful  flattery  these 
syndicates  of  rogues  rob  them  of  their 
savings. 


A  dirty  winding  staircase  led  up  to  the 
office.  I  stood  at  the  end  of  a  long  queue 
with  the  advertisement  clutched  tightly  in 
my  hand  : — “  Kinema  beginners  wanted. 
Vacancies  for  talented  ladies  and  gentlemen. 
Lack  of  experience  no  objection. — Apply 

personally, - *  Studios - Circus. 

This  is  a  genuine  opportunity .  ” 

At  last  it  was  my  turn  to  be  interviewed, 
and  I  found  myself  standing  in  a  small 
office  before  a  large  man,  who  was  survey¬ 
ing  me  critically.  Grinning  down  at  me 
from  every  angle  of  the  room  were  famous 
kinema  stars. 

“  Some  of  my  ex-pupils,”  murmured  the 
man,  following  my  glance.  “  Take  off  your 
hat,  please.” 

I  obeyed. 

“  Yes,”  he  murmured  at  last,  “  excellent 
film  face,  no  difficulty  at  all  in  placing 
you.” 

“  The  part  I  have  in  mind  for  you,”  he 
continued,  “  would  usually  be  given  to 
some  one  more  experienced,  but  for  a 
nominal  fee  I  am  prepared  to  have  you 
coached  by  one  of  our  best  directors.” 

“  The  fee,”  he  added,  as  an  after¬ 
thought,  “is  twelve  guineas — er — er — payable 
in  advance.  Take  a  few  minutes  to  think 
it  over.” 

“  I  should  like  to  begin  at  once,”  I  said. 

“  Splendid  !  ”  he  cried.  “  Your  first 

lesson  will  be  this  afternoon  at  three.” 

The  studio,  into  which  1  was  shown  later, 
contained  only  a  few  chairs,  a  table,  .and 
a  large  mirror,  beside  which  the  producer 
stood  and  gave  directions.  The  class  was 
in  progress.  I  noticed  with  interest  my 
fellow  pupils.  Taken  from  .all  grades  of 
society  they  made  a  strange  collection. 
There  was  .a  young  .society  girl,  ,an  older 
woman,  who  had  been  promised  a 
“mother’s”  part,  a  little  nursemaid,  who 
had  saved  for  years  to  give  herself  this 
chance,  a  girl  whom  the  advertisements  had 
lured  from  the  country,  a  beautiful  Russian 
refugee,  .and  a  motley  crowd  of  youths.  One 
at  a  time  we  stood  before  the  window  and 
were  put  through  different  “  scenes.” 

After  the  tenth  lesson  we  were  told  that 
the  final  “  test,”  upon  which  our  chances 
depended,  would  take  place  the  following 
Monday. 

Monday  afternoon  found  ns  all  .assembled, 
dressed  in  what  we  imagined  to  be  our  most 
becoming  clothes. 

One  by  one  we  went  through  our  scenes 
At  the  conclusion  we  were  told  that  the 
result  would  be  sent  during  the  next  few 
days. 

One  week  passed,  two  weeks.  Anxiously 
each  day  I  waited  for  the  all-important 

letter,  but  no  word  came  from  the - 

Studios.  Finally,  I  made  up  my  mind  to 
confront  them  personally. 

I  went  up  to  town,  but  as  I  came  near 
the  building  I  noticed  that  the  familiar  sign 
on  the  window  had  gone.  Quickly  I  ran 
up  the  stairs,  knocked,  and  receiving  no 
answer,  turned  the  handle  of  the  door  and 
walked  in.  Through  a  cloud  of  dust  I  dis¬ 
covered  a  char-lady.  “  Them  ’as  gone, 
miss,”  she  said,  in  .answer  to  my  query, 
“  and  they  ain’t  left  no  address.  Nice  lot 
of  scoundrels ;  there’s  been  several  ladies 
and  gents — a-, askin’  after  ’em  !  ” — Daily 
Express. 


6 


September  23,  1922 


rHE  MOTION  PICTURE  STUDIO 


Intimate 


Studio 


ISly  friend,  G.  A.  Atkinson,  of  the 
Daily  Express ,  is  often  guilty  of 
grasping  the  wrong  ends  of  sticks,  so 
I  was  merely  amused  when,  in  review¬ 
ing  “Dick  Turpin’s  Ride  to  York,” 
he  said'  of  Matheson  Lang  that  he  is 
“  no  mean  horseman.”  Which  is 
really  an  oblique  compliment  to 
Sydney  Seaward,  who  doubled  for 
Lang  and  did  all  the  equestrian  work 
in  such  a  skilful  manner  that  even 
G.  A.  A.  is  taken  in.  By  the  way,  I 
sometimes  think  that  this  “  doubling  ” 
business  is  altogether  wrong — -  | 

especially  in  such  a  film  as  this,  where  j 
horsemanship  is  the  chief  work  of  the 
actor. 


so.  For  one  thing  I  don’t  know  the 
technique;  then  I  feel  that  my  medium 
is  in  description,  dialogue  and 
characterisation  of  the  type  that  best 
can  be  given  in  a  novel.”  Miss  Baker 
is  convinced  that  the  film  art  is  a  big 
and  vital  one,  and  opens  a  wide  new 
field  for  the  creative  writer,  but  she 
is  wise  enough  to  appreciate  the  vital 
difference  between  the  art  of  the 

ARE~YOU In 

THE 

CRIMSON 


Qbatting  with  Bertram  Burleigh  in  the 
Club  this  week,  I  was  delighted  to 
hear  from  him  of  the  right  royal  way 
that  the  artistes  had  been  treated  by 
George  Pearson  while  in  Paris 
securing  scenes  for  “  Squibs  Wins  the 
Calcutta  Sweep.”  It  appears  that  the 
aitistes  were  catered  for  in  a  princely 
manner  by  dinner  parties  and  theatre 
outings.  Bertram  Burleigh  says  it 
was  the  most  enjoyable  “  location  ’  he 
has  ever  been  on.  I  always  thought 
that  one  of  the  secrets  of  the  success¬ 
ful  George  Pearson  productions  was 
the  considerate  manner  in  which  he 
treated  his  artistes. 

X  am  asked  toi  state  that  by  an  unfor¬ 
tunate  error  a  photograph  of 
Margaret  Halston  that  we  published 
in  a,  recent  issue  in  connection  with 
“  Tell  Your  Children  ”  was  stated  to 
be  of  Gertrude  McCoy.  Apologies  to 
both, ! 

i  hear  that  the  film  rights  of 
“  Grumpy”  (in  which  Cyril  Maude 
made  such  a  bit  at  the  Criterion)  has 
been  bought  by  a  well-known  pro¬ 
ducing  concern.  None  of  the  cast 
has  yet  been  selected,  but  1  am  glad 
to  know  that  Cyril  Maude  has 
decided  net  to-  appear  in  the  film 
version;  he  is  evidently  “big-man  ” 
enough  not  to  invadle  the  territory  of 
film  actors. 

What  I  like  about  Kathleen  Baker 
(“  John  Overton,”  author  of  the 
novel  from  which  “A  Ginsv  Cavalier  ” 
was  made)  is  her’  own  appreciation  of 
her  limitations.  She  was  asked  if 
she  expected  to  write  directly  for  the 
screen,  and  replied  :  “  I  hardly  think 


CIRCLE 

? 

SEE  PAGE  FOUR. 


novelist  and  the  art  of  the  photo¬ 
dramatist.  If  only  all  novelists  were 
as  wise  ! 

Winnie  Rayner  writes  me  from 
Calcutta,  where  she  is  having  a 
record  success  at  the  Empire  Theatre 
in  “The;  Young'  Person  in  Pink.” 
She  tells  me  that  she  met  Geoffrey 
Malins  out  there  just  before  illness 
made  him  abandon  the  World  Flight. 
Miss  Rayner’s  tour  will  include  China 
and  Japan,  and  she  expects  to  return 
next  May.  And  we’ll  all  be  glad  to 
see  her  again. 

According  to:  Fatty  Phillips,  the  first 
Evan-Phillips.  production,  “  Hi  ms 
Ancient  and  Modern,”  is  now  finished. 
He  tells  me  that  during  their  recent 
trip,  to  Herne  Bay  for  exteriors  the 
Town  Council  was  the  quintessence  of 
kindness  and  courtesy,  while  Sidney 
Paxton  acted  as  a  father  to  the  party, 
all  the  members  of  which  appear  to 
have  had  a  very  enjoyable  time. 
From  all  I  hear  this  little  comedy  is 
shot  through  with  streaks  of  rich 
humour- — if  t  hi  si  is  so,  then  I  con¬ 
gratulate  all  concerned,  for  there  is  a 
great  dearth  of  real  screen  comedy. 

Am  sorry  to-  hear  that  Flora  Le 
Breton  has  been  on  the  sick  list 
with  a  bad  cold  on  her  chest  and  an 
ulcerated  throat.  She  writes  to  tell 
me  that  she  is  now  much  better, 


which  all  will  be  glad  to1  know — it  is 
so  difficult  to  imagine  the  busy  little 
lady  tied  down  to  enforced  idleness  in 
a  sick  room.  She  appears  to  be 
setting  up  in  business  as  a  film 
athlete;  after  the  terrifying  flood 
scenes  in  the  last  Black  ton  produc¬ 
tion  she  is  now  working  on  strenuous 
exterior  scenes  for  Ideal — doing  bath¬ 
ing  stunts  in  this  weather  !  But  she 
says  she’s  game  for  anything.  And  I 
believe  her. 

While  salmon  fishing  at  Cocker  mouth, 
Rafael  Sabatini  had  a  narrow 
escape  from  drowning'.  He  fell  into 
deep'  water  and  went  under  four  times 
before  he  regained  his  footing  and 
was  rescued  by,  the  bailiff. 

The  second  annual  report  of  Stoll 
Picture  Productions,  Ltd.,  has  just 
been  issued.  This  shows  that  the 
trading  profit,  after  charging  all  costs 
of  finished:  productions  and  studio 
expenses,  amounts  to  only  ^,’18,450, 
in  comparison  with  A5H344  f°'r  the 
period  covered  by  the  initial  report, 
and  the  net  profit  is  reduced  from 
£35fi58  t°  A9,925-  Of  the  sum 
available,  increased  by  the  balance 
brought  in  to  ^39,247,  the  preference 
dividend  absorbs  At  5,522,  leaving 
£23<725  1°  go  forward,  subject  to 
final  adjustment  of  income  tax  andl  to 
liability  for  corporation  profits  tax. 
In  the  circumstances  the  possibility  of 
a  dividend  being  payable  on  the 
ordinary  shares  is  out  of  the  question. 

0ne  item  on  the  assets  side  of  the 
balance-sheet  catches  the  eye. 
That  is  A 1 59, 805,  the  amount 
receivable  in  respect  of  contracts 
entered  into  for  completed  pictures, 
less  reserve  for  contingencies.  This 
amount  is  £55,681  less  than  the 
corresponding  figure  in  the  previous 
year’s  balance-sheet.  Goodwill  awain 
figures  at  A2T>  4J7  This  appears 
to,  be  excessive. 

11  you  stoney-broke  artistes  will 
rejoice  to  know  that  the  Marquise 
de  Rocher  is  taking  u p>  film  acting. 
Oh,  for  that  Film  Artistes’  Federa- 
I  tion  ! 


7 


THE  MOTION  PICTURE  STUDIO 


September  23,  1922 


ZoA&asi 


tAsU/  -cum  cvnct  — - - 

toAcCt  t/vU{-aAji  -clovrvq 


Tony  Fraser  went  off  to  Shoreliam  last 
week  to  play  in  “Against  Fearful  Odds  "  for 
Progress. 

Florence  Turner  is  playing  in  Walter  West’s 
new  production,  “The  Hornet’s  Nest.” 

James  Knight  is  playing  for  Walter  West 
Productions  in  “The  Hornet's  Nest.” 


Henry  Vibart  is  playing  for  Davidson  in 
Arthur  Hooke’s  latest  production. 

Challis  Sanderson  directed  “The  Last 
Hundred  Yards  ”  for  Masters. 

Myrtle  Vibart  has  been  engaged  by  David¬ 
son  for  Arthur  Rooke’s  latest  production. 


George  Pearson  has  completed  “Squibs 
Wins  the  Calcutta  Sweep  ”  for  Welsh-Pear- 
son. 

Athalie  Davis  is  playing  for  Masters  in 
one  of  the  new  one-reelers. 

James  Knight  has  been  playing  for 
Masters  in  “The  Last  Hundred  Yards.” 


Arthur  Walcott  has  been  playing  for  Gran¬ 
ville  Productions  in  “Shifting  Sands,”  also 
in  a  15.  and  C.  production,  and  is  now 
engaged  for  Walter  West’s  next  production. 

Violet  Hopson  is  playing  in  “The  Hornet’s 
Nest  ”  for  Walter  West  Productions. 

Cecil  Hepworth  has  practically  completed 
“The  Pipes  of  Pan,”  his  latest  production. 


Wallace  Bosco  is  to  play  for  Masters  in 
“The  Green  Caravan.” 

Dacia  was  engaged  through  Jay’s  Agency 
for  an  important  role  in  Arthur  Hooke’s 
new  Davidson  production. 


ARE  YOU  IN 


Jack  Jarman  has  been  engaged  for  Masters 
by  Maitt  and  Myers  to  play  in  “  The  Last 
Hundred  Yards.” 

John  Parker  is  photographing  “Paddy  the 
Next  Best  Thing  ”  for  Grahame-Wilcox. 

Sammy  Foster  was  engaged  through  Maitt 
and  Myers  to  play  for  Masters  in  “The  Green 
Caravan.  ” 


Jeff  Barlow  is  to  play  for  Ideal  as  the 
butcher  in  “The  Harbour  Lights.” 

M.  Gray  Murray  has  been  engaged  to  play 
for  B.  and  C.  in  “The  Last  Crusade.” 

Betty  Balfour  has  finished  work  for  Welsh- 
Pearson  in  her  latest  feature,  “Squibs  Wins 
the  Calcutta  Sweep.” 


Maurice  Thompson  is  playing  for  A.  E. 
Coleby  in  the  new  Stoll  production  “The 
Prodigal  Son.  ” 

Henry  Edwards  is  on  his  way  back  from 
Venice,  where  he  has  been  making  the  ex¬ 
teriors  of  “The  World  of  Wonderful  Reality” 
lor  Hepworth. 


Mae  Marsh,  Simeon  Stuart,  Haidee  Wright 
and  George  K.  Arthur  were  secured  for 
Grahame-Wilcox  Productions  in  “Paddy  the 
Next  Best  Thing  ”  through  Jay’s  Agency. 
Jays  new  telegraphic  address  is  Jaysartag, 
Piccy,  London.  b’ 


TRADE  SHOW 
GUIDE 


rpiIE  scenario  of  the  new  Welsh-Pearson 
production  is  the  work  of  George 
Pearson  and  Hugh  E.  Wright.  Some  of 
the  exteriors  of  this  production— 

“  Squibs  Wins  the  Calcutta  Sweep  ” 

were  taken  in  Paris  under  the  direction 
oi  George  Pearson. 

Betty  Balfour  has  the  leading  part,  and 
ls  supported  by  Fred  Groves,  Hugh  E. 
Wright,  Annette  Benson,  Mary  Though”, 
Bertram  Burleigh,  Marthe  Preval  and  Am¬ 
brose  Manning. 

1  KADE  SHOW:  Thursday,  September  28, 
at  the  New  Gallery  Kinerna,  at  11.30  a.m. 

^N  exceptionally  strong  cast  has  been 
engaged  in  the  new  Gaumont  pro¬ 
duction, 

“Rob  Roy,” 

which  has  now  been  completed  under  the 
direction  of  Will  Kellino  and  his  assistant, 
Cyril  Smith. 


David  Hawthorne  is  starred  as  Rob  Roy, 
with  Gladys  Jennings  as  Helen  MacDonald, 
'up]x>rted  by  Simeon  'Stuart,  Alec  G. 
Hunter,  Wallace  Bosco,  Stanley  McCarthy, 
•'°m  Morris,  Eva  Llewellyn  and  Maurice 
Thompson. 

The  photography  is  in  the  hands  of  A. 
St.  Brown  and  Basil  Emmott. 

I  kade  Show  :  Friday,  September  29,  at 
the  Marble  Arch  Pavilion,  at  11  a.m. 


THE 

CRIMSON 

CIRCLE 

♦ 

SEE  PAGE  FOUR. 


Sydney  Folker  is  to  be  featured  in  the  new 
Quality  film,  which  is  just  about  to  be 
started  on. 

Derek  Glynne  lias  been  engaged  by  Jay’s 
Agency  for  the  new  Davidson  film. 

Mrs.  Hubert  Willis  is  playing  for  David¬ 
son  in  that  company’s  new  production 
(Jay’s  booking). 

Leslie  Eveleigh  is  photographing  the 
latest  Davidson  production. 

Arthur  Hooke  is  directing  a  new  produc¬ 
tion  for  Davidson. 

Alma  Taylor  has  been  playing  lead  in  “The 
Pipes  of  Pan”  for  Hepworth. 

Richard  Atwood  has  completed  work  with 
Granville  Productions  in  “Shifting  Sands.” 

Eric  Gray  has  been  playing  for  Quality  in 
“The  Cunninghams  Economise.” 

Frank  Dane  has  been  down  at  Bourne¬ 
mouth  on  the  exteriors  of  “The  Scientist  ” 
for  Gaumont. 

Chrissie  White  has  been  in  Venice  on  the 
exteriors  of  “The  World  of  Wonderful 
Reality  ”  for  Hepworth. 

Claud  McDowell  is  photographing  “God’s 
Prodigal,  ”  the  new  Edward  Jose  Interna¬ 
tional  Artists’  feature. 

Percy  Moran  is  shortly  to  direct  another 
production  for  “The  Field  of  Honour  ” 
series. 

Gwynne  Herbert  has  been  playing  for 
Hepworth  in  “The  World  of  Wonderful 
Reality.” 

Lucita  Squires  is  responsible  for  the 
scenario  of  “A  Gamble  with  Hearts  ”  for 
Masters. 


Valia  has  been  engaged  through  Maitt  and 
Myers  to  play  in  “The  Green  Caravan  ”  for 
Masters. 

Elliot  Stannard  is  responsible  for  the 
scenario  of  “Paddy  the  Next  Best  Thing” 
for  Graliame-Wileox. 

Harry  Newman  is  playing  in  one  of  the 
new  Master  one-reelers  called  “The  Last 
Hundred  Yards, ”  and  also  in  “The  Green 
Caravan  ”  (Maitt  and  Myers  booking). 

Joan  McLean  is  to  play  for  Quality  in  the 
latest  production  of  the  Cunninghams’ 
series. 

Gregory  Scott  has  been  fixed  by  Maitt  and 
Myers  for  an  important  role  in  “The  Green 
Caravan  ”  for  Masters. 

Gerald  McCarthy  and  George  Harris  were 
engaged  to  play  in  “The  Harbour  Lights,” 
the  new  Tom  Terriss  Ideal  Production 
through  Zeitlin’s  Agency. 


PARLIAMENT. — Continued  from  page  10 

photography,  make  it  hard  to  express  emo¬ 
tions.”  What  is  this  but  a  confession  that 
imagination  is  needed? 

“Nor  must _you  exaggerate,  because  when 
your  face,  sometimes  larger  than  life,  is 
thrown  on  the  screen,  the  least  flicker  of 
an  eyelid  may  ruin  the  effect  of  the  emotion 
you  intend  to  convey.”  What  is  this  but 
a,  tfrank  and  honest  admission  that  the 
technique  of  the  screen  is  totally  different 
from  that  of  the  stage? 

That  there  are  stage  actors  who  have 
surmounted  the  difficulties  mentioned,  the 
names  of  Aubrey  Smith,  Fay  Compton, 
Milton  Rosmer,  Margaret  Bannerman, 
Sydney  Paxton,  Hilda  Bayley  and  others 
abundantly  prove.  All  are  capable  of 
taking  complete  film  parts,  without  the  aid 
of  “doubles,”  and  are  as  successful  on 
the  screen  as  the  stage. 

'May  I  venture  to  ask  him  to  consider  the 
point  whether  in  allowing  his  stage  pre¬ 
eminence  to  be  exploited  for  ^100  per  day 
he  is  not  doing  out  of  a  job  a  capable 
screen  artiste  who  could  enact  the  complete 
part  without  needing  the  aid  of  “doubles” 
and  their  extra  expense?  For  him  a  tem¬ 
porary  flirtation  with  film  work  may  be  an 
interesting  and  amusing  episode  and  inter¬ 
lude,  like  a  holiday  taste.  For  the  screen 
artiste  it  may  mean  the  loss  of  actual  bread 
and  butter. 

“Noblesse  oblige”  muislt  ysturely  appeal 
to  one  in  his  exalted  position,  which  is 
impregnable  on  the  stage.— Arthur  Jas.  D. 


8 


September  23,  1922 


THE  MOTION  PICTURE  STUDIO 


NOT  SO  EASY! 

by  FELIX  ORMAN, 


“  To  a  very  large  extent 


rpHE  above  is  an  extract  from  an  article 
which  was  recently  printed  in  a  news 
paper.  It  is  not  a  new  idea  at  all.  For 
years  I  have  heard  such  ideas  expressed. 
Action  on  the  screen  progresses  with  such 
ease  that  only  those  thoroughly  familiar 
with  studio  technique  can  form  an  idea  ol 
the  work  and  experience  and  concentration 
that  lie  behind  that  smoothness  which  is 
so  essential  to  effective  results  in  film  his- 
trionism. 

It  is  this  belief  in  the  lack  of  effort  in 
screen  acting  that  leads  so  many  amateurs 
to  the  belief  that  they  can  walk  right  into 
a  studio  and  act  before  a  camera  ;  and  such 
ideas  minimise  the  importance  of  the  screen 
player’s  art  and  technical  equipment. 

I  am  in  a  position  to  know  both  sides 
of  the  case.  For  years  I  have  seen  the 
great  efforts  of  film  artistes  to  attain  artistic 
repression  and  naturalism  ;  and  I  have  also 
had  to  deal  with  hundreds  of  amateurs  in¬ 
dulging  themselves  in  the  belief  that  all 
they  would  be  called  upon  to  do  in  a 
studio  would  be  to  dress  up  and  look  well 
So  I  answered  the  newspaper  statement 
as  follows:  — 

“A  film  artiste’s  work  may  seem  easy 
as  viewed  cn  the  screen,  but  how  mucn 
hard  work,  training  and  concentration 
there  must  of  necessity  be  behind  that 
ease  only  those  who  have  worked  in  a 
film  studio  can  realise. 

“A  few  months  ago — to  state  a  typical 
case — a  very  elegant  young  man  came  10 
me  from  one  of  the  aristocratic  Picc-a 
dilly  clubs,  and  wanted  a  job  as  a  lead 
ing  man.  He  could  not  consider  small 
parts,  said  he.  I  told  him  that  experience 
and  training  were  necessary,  and  that  he 
would  have  to  start  and  learn  the  art  of 
film  acting  from.  the  bottom  up.  Inci¬ 
dentally,  I  also  advised  him  against 
adopting  acting  as  a  profession,  in  view 
of  his  mental  attitude  on  the  subject, 
lie  was  quite  disposed  to  argue  with  me 
that  screen  acting  was  all  very  simple; 
that  he  was  a  gentleman,  looked  a  gen¬ 
tleman,  dressed  like  a  gentleman  ;  all  he 
had  to  do  was  to  act  himself.  lie  said 
he  had  watched  the  films  very  carefully, 
and  all  one  had  to  do  was  to  be  one’s 
own  self. 

“  This  is  all  very  amusing  to  me,  who 
had  seen  ihundreds  of  film  scenes  re¬ 
hearsed  many  times  before  just  the  de¬ 
sired  natural  effect  was  obtained ;  who 
had  seen  actors  of  long  training  on  the 
stage  fail  utterly  in  the  studio.  Film 
acting  is  a  medium  of  dramatic  expression 
different  jrom  that  of  the  stage,  and 
calling  for  a  definite  gift.  Screen  acting 
may  look  ever  so  easy,  but  that  is  the 
art  of  the  director  and  the  actor.  And  I 
maintain  that,  however  gifted  he  may  be, 
the  art  of  the  actor  is  subordinate  to 
that  of  the  director,  for  the  actor’s  work 
is  moulded  by  the  director’s  skill,  ideas 
and  creative  imagination,  which  bring 
the  many  elements  of  a  scene  into  an 
artistic  whole.  Such  an  idea  is  in  oppo¬ 
sition  to  that  I  have  heard  expressed  by 
a  well-known  writer  before  a  local  film 
gathering  some  time  ago.  He  argued 
that  the  film  director  was  only  a  glorified 
stage  manager. 

“There  are  many  who  believe  that 
acting  on  the  stage  is  quite  difficult, 
whereas  acting  for  the  screen  is  simplv 
a  happy-go-lucky,  easy  occupation.  I 
have  seen  a  great  deal  of  both  theatre 
and  studio  work,  and  fully  believe  that 


it  is  unnecessary  to  act  at  all  on 

acting  before  a  camera  is  infinitely  more 
difficult  than  acting  on  the  stage. 

“The  artiste  in  the  theatre  has  his  lines, 
the  music  and  fascination  of  his  voice, 
the  magic  of  his  personality  in  himself 
being  there ;  and  there  are  all  the  con¬ 
tributing  elements  of  the  theatre,  includ¬ 
ing  the  very  stimulating  influence  of  the 
audience,  to  aid  him  in  achieving  his 
dramatic  effects. 

“  The  studio  actor  has  none  of  these 
helps  and  influences  ;  there  is  no  audi¬ 
ence  ;  there  is  no  voice  ;  there  is  none  oi 
the  many  stimulants  of  the  stage  to  work 
upon  his  feelings.  He  is  called  upon  to 
concentrate,  and  this  concentration  is  ot 
a  much  more  intense  form  than  the 
theatre  ever  requires  of  the  artiste.  The 
camera  is  relentless,  and  every  muscle 
of  the  face,  every  movement  of  the  hand, 
arm  or  body,  tells  its  own  story.  There 


TS  it  any  wonder  that  nothing — not 
even  the  courage  of  the  artistes,  can 
hide  the  appalling  state  of  affairs  any 
longer,  when  one  looks  down  the  list  of 
firms  given  at  the  end  of  The  Motion 
Picture  Studio  and  finds  how  many  of 
them  are  “  not  working.”  Something  has 
got  to  be  done.  Help  will,  of  course,  be 
forthcoming  now  that  the  Kinema  Club 
film  is  sold,  but  help  should  come  quicklv. 
People  who  are  without  work  and  with¬ 
out  resources  cannot  afford  to  wait. 

When  the  actors  and  actresses  on  the 
ordinary  stage  were  in  like  predicament 
last  winter,  entertainments  were  organ¬ 
ised — notably  a  matinee  at  the  Palace 
Theatre,  with  which  the  present  writer  is 
proud  to  have  been  associated.  Money 
was  also  raised  in  other  ways  at  short 
notice. 

One  of  the  leading  actor  managers  of 
London  has  just  recently  played  the  star 
part  for  the  screen.  Most,  if  not  all,  his 
company  have  also  played  for  the  films. 
Would  they  not  help  if  asked — either  by 
organising  an  entertainment,  lending  the 
theatre,  or  giving  the  proceeds  of  an 
extra  matinee  to  the  cause? 

The  flag  day  season  is  not  yet  over. 
Would  not  the  spectacle  of  our  noted 
beauties  of  the  screen  selling  Hags  for 
their  hard-hit  brethren  charm  the  six¬ 
pences  out  of  everybody’s  pockets?  Such 
a  day  as  that  could  be  organised  from 
the  Kinema  Club  and  should  bring  in  a 
good  sum.  The  Press  section  of  the  Club 
could  work  enough  publicity  to  make  the 
venture  a  success. 

If  actors  or  actresses  resent  this  sug¬ 
gestion  let  them  put  their  pride  in  their 
pockets  and  help  the  others.  There  must 
be  many  who  are  actually  in  distress,  not 


the  film.” 

are  no  short  cuts  to  dramatic  expression 
for  the  film  actor  such  as  th-e  stage  actor 
can  rely  upon. 

“Of  course,  there  are  all  kinds  of  film 
acting,  but  I  am  speaking  of  the  type 
which  really  stands  out  as  art ;  and  there 
is  a  good  deal  of  this  fully  deserving  of 
public  appreciation,  notwithstanding  the 
academic  and  unknowing  criticism  in 
some  quarters.” 

I  do  not  wish  to  be  regarded  as  in  any 
way  belittling  the  art  of  the  theatre.  T 
should  be  the  last  one  to  do  that,  as  1 
have  given  many  years  of  my  life  to  em¬ 
phasising  the  greatness  of  that  art ;  but  I 
also  appreciate  the  bigness  of  the  art  of 
the  kinema,  and,  especially  in  view  of  its 
universal  audience  and  its  vast  influence,  I 
want  to  do  my  modest  bit  in  promoting 
public  appreciation  of  that  art. 


from  any  form  of  bad  work  or  self  indul¬ 
gence,  but  from  the  terrible  state  of 
things  from  which  ail  workers  are 
suffering,  who  cannot  be  classed  tech¬ 
nically  as  “  labour.” 

There  is  another  thing  that  even  the 
poorest  can  do.  The  slump  has  largely 
come  about  because  of  the  scandalous 
apathy  of  the  public  to  their  own  national 
films. 

If  every  member  of  the  Club  organised 
his  or  her  friends  into  a  little  band  who 
would  inquire  at  every  picture  palace  they 
frequented  “Are  you  showing  British 
films  to-day?”  and  if  they  were  not  to 
come  away,  and  go  elsewhere,  the 
exhibitors  would  soon  realise  that  they 
were  turning  away  money  by  not  showing 
British  pictures. 

It  is  not  required  that  only  British 
pictures  should  be  screened,  but  that  a 
percentage  should  be  shown  so  that 
English  studios  need  not  close  down  for 
lack  of  a  market,  and  English  film  actors 
should  have  the  right  to  live. 

It  is  an  absolute  scandal  that  kinemas 
can  flourish  on  English  soil,  sell  their 
seats  to  English  people  and  never  show 
an  English  picture  from  year’s  end  to 
year’s  end.  And  the  public  don’t  know. 
It  isn’t  that  they  don’t  care.  They  just 
don’t  know.  This  is  the  state  of  things 
that  makes  our  studios  close  down  and 
our  artistes  starve.  Something  has  got 
to  be  done  about  it. 

For  the  rest,  the  immediate  help,  let 
the  Kinema  Club  form  a  Committee  and 
see  what  can  be  done  in  the  way  of 
carrying  out  some  scheme  to  raise  money. 
But  for  heaven’s  sake,  organise  and  do 
it  quickly. 


THE  RIGHT  TO  WORK 


In  our  last  issue  we  protested  against  encouraging  amateurs 
to  enter  the  profession  while  there  is  so  much  distress  in  t'.e 
ranks  of  film  artistes  and  quoted  ihe  “  Even  ng  News,”  which 
has  been  publishing  moving  and  pathetic  articles  on  the  distress 
now  prevailing  among  the  film  artis'es  in  this  country,  articles 
which  one  knows  are  no  sensational  Press  stunt,  but  an  actual 
statement  of  facts.  Ch  istabel  Lowndes-Y ales  makes  a  novel 
suggestion  apropos  this  slate  of  affairs. 


9 


THE  MOTION  PICTURE  STUDIO 


September  23,  1922 


OUR  PARLIAMENT 

Readers  discuss  various  matters  and  air  various  grievances 

NOTE — This  is  the  new  form  that  “Letters  to  the  Editor  ’’  now  take.  Readers  are  invited  to  comment 

on  the  contributions. 


Seen,  rios 
to  U.S.A. 

Mr.  Speaker, — Would  it  be  asking  too 
much  to  suggest  publishing  in  The  Motion 
Picture  Studio  a  list  of  foreign  producing 
firms  and  their  addresses,  so  as  to  give 
photo-playwrights  a  wider  range  to  send 
their  work  to?  I  am  sure  no  one  would  be. 
grudge  them  sending  their  work  away  from 
England  when  it  had  been  refused  here.^ 
W.  POTHECARY. 

The  editor  will  be  pleased  to  do  this  if 
there  is  a  general  desire — will  other 
scenarists  state  their  wishes? 

Sole 

Agency 

Mr  Speaker, — In  regard  to  the  issue  of 
Motion  Picture  Studio  dated  September 
16,  l  should  like  to  bring  the  following 
matter  to  your  notice  :  — 

The  announcement  on  the  front  page  that 
Milton  Rosmer  was  engaged  direct  by 
Masters  is  misleading,  as  Mr.  Rosmer  was 
engaged  by  Masters  through  an  introduc¬ 
tion  from  this  office. 

Under  the  heading,  “Where  They  Are 
and  What  'They  Are  Doing,’’  is  a  paragraph 
as  follows “  Catherine  Calvert  was 
secured  through  Maitt  and  Myers  Agency 
to  play  for  Masters  in  “  The  Green 
Caravan.” 

I  would  point  out  that  this  engagement 
was  negotiated  by  Maitt  and  Myers  through 
this  office,  and  that  engagements  for 
Catherine  Calvert  can  be  negotiated  only 
through  this  office,  as  I  am  her  sole  agent. 

I  should  be  glad  if  you  would  give  this 
letter  the  publicity  accorded  to  the  an¬ 
nouncement  referred  to.  —Frank  Zeitun. 

“  Parts  ”  for 
Crowd  Pay 

Mr.  Speaker, — Do  directors  ever  pause 
to  consider  that  by  offering  the  small-part 
artiste  nothing  more  than  crowd-work  pay 
they  are  literally  asking  for  trouble? 
'1  rouble  and  the  making  thereof  is  the  one 
unforgivable  crime  in  a  studio — as  artistes 
know  to  their  cost.  You  may  be  a  “dud  ” 
actor,  drink,  swear,  or  any  other  old  thing, 
it  will  be  forgiven  or  ignored,  if  you  don’t 
make  trouble. 

For  the  stars  who  demand  and  even 

£lon  a  day,  and  as  one  has  re¬ 
cently  stated,  increases  her  charges  by  ^10 
to  pay  agent's  fees,  I  have  little  sympathy. 

1  hey  are  probably  over-paid,  and  can  look 
after  themselves. 

The  point  I  wish  to  bring  home  to  direc¬ 
tors  and  submit  for  their  consideration  is 
that  if  they  pay  stars  these  huge  fees  they 
should  in  fairness  pay  the  lesser  artistes 
proportionately. 

A  recent  instance  was  brought  to  my 
notice,  where  an  actor  of  experience  was 
offered  what  proved  to  be  an  essential  part. 

I  he  offer  was  vague  as  to  work  required, 
but  very  definite  as  to  pay — crowd-work  pay 
of  one  guinea. 

On  reaching  the  studio  he  found  that  the 
scene  he  had  to  enact  was  practically  his 
scene.  He  dominated  it  completely,  had 
spot-lights,  C.II.,  etc.  One  of  the  stars  was 
present,  but  as  an  adjunct  to  the  scene  and 
the  central  figure.  The  others  concerned  to 


make  atmosphere  were  unanimously  agreed 
that  this  essential  part  in  story  of  film  was 
honestly  worth  at  least  three  guineas.  Ap¬ 
plication  for  more  pay  was  met  on  all  sides 
by  the  reply  that  the  scene  did  not  take 
long,  and  no  extra  pay  was  forthcoming. 

If  the  actor  had  been  a  member  of  A. A. 
or  V.A.F.  he  could  have  demanded  three 
guineas.  Being  a  screen  actor  and  so  de¬ 
fenceless,  he  had  to  submit.  Where  a-  well- 
|  established  firm  is  concerned  there  should 
j  be  no  delay  in  payment  after  work  is  done. 
In  these  days  to  keep  struggling,  and  even 
starving  screen  artistes  who  have  to  live 
from  hand  to  mouth,  and  cannot  get  out  of 
debt,  waiting,  is  not  only  careless,  but 
despicably  mean  and  contemptible. 

Directors  and  their  assistants  whose  pay 
is  regular  and  work  secure  can  and  should 
prevent  this.  It  is  an  unnecessary  worry, 


> 

♦ 

SEE  PAGE  FOUR. 


which  artistes  ought  not  to  be  exposed  to. 
It  is  a  form  of  wages,  and  so  legally  a  first 
charge,  as  any  magistrate  would  decide. 

This  appeal  is  writtefi  in  a  spirit  of 
reasonableness,  in  a  conciliatory  tone  of  ap¬ 
peal  to  the  better-disposed  directors,  who 
have  it  in  their  power,  each  and  all,  to 
remove  this. — Ess  Jek. 

Money  on 
the  Spot 

Mr.  Speaker, — Before  the  mcney  put  up 
for  a  production,  or  even  allotted  by  a  well- 
established  firm,  reaches  those  who  actually 
do  the  work,  it  passes  through  many  palms. 
Some  are  more  adhesive  than  others,  hence 
the  need  for  asking  artistes — I  had  almost 
written  “compelling,”  as  it  really  amounts 
to  that — to  accept  reduced  pay,  and  de¬ 
ferring  pay. 

Recently  I  was  on  “location  ”  with  a  large 
crowd  ;  we  were  taken  by  char-a-banc,  and 
the  Amer(ica)n  director  declared  that  no 
money  had  been  sent  down  by  the  firm, 
but  that  the  agent  employed  would  pay  in 
three  or  four  days.  Starving  artistes  could 
wait- — they  are  powerless. 

I  would  venture  to  suggust  to  all  firms 
that  in  the  case  of  “location  ”  work  they 
should  insist  on  all  receipts  of  artistes  en¬ 
gaged  being  forthcoming  the  next  day,  when 
only  one  day’s  work  is  involved,  as  it  is 
their  credit  involved. 

To  my  fellow-artistes  I  would  venture  to 
advise  :  never  accept  work  unless  you  know 
its  extent.  Never  accept  less  than  your 
full  pay.  Plausible  people  will  plead  the 
firm  is  small  or  young,  or  the  money  al¬ 


lowed  is  meagre.  Turn  a  deaf  ear.  It 
does  not  pay  to  “oblige”  such  people.  Be 
courteously  firm.  Why  should  you,  to  whom 
it  is  a  matter  of  “business,”  provide  money 
for  their  “pleasure.” 

Absolutely  refuse  cheques,  “post-dated  ” 
or  otherwise. 

Were  screen  artistes  organised  they  could 
black-list  such  manipulative  merchants,  and 
safeguard  themselves. — Mai.gre. 

The  Child’s 
Future 

Mr.  Speaker, — We  were  all  so  elated  and 
full  of  joyful  anticipation  when  Our  Club 
was  born  ;  we  rallied  round  at  the  christen¬ 
ing,  made  merry  at  the  feast,  attended 
daily  to  watch  its  growth  and  report  accord¬ 
ingly.  But  now,  at  eight  months  old,  it 
-seems  somehow  that  its  upbringing  is  not 
such  that  it  is  being  reared  towards  a 
healthy  steady  growth  that  means  a  well- 
cared-for  existence  conducive  to  middle  life. 

True,  “  Ours  ”  was  born  weak,  but  with 
the  best  intentions  to  struggle  through  and 
be  a  blessing  to  “God-Papa,”  who — poor 
fellow — has  incubated  a  burden  that  has, 
and  will,  cost  him  sleepless  nights  and 
anxious  thoughts  until  the  right  manage¬ 
ment  is  found  to  foster  our  Baby  Club. 

Where  are  all  the  uncles  and  aunts  (mem¬ 
bers),  and  what’s  the  meaning  of  the  poor 
attendances  -at  the  Saturday  “Hop?  ”  Is 
it  because  they  are  now  voted  “dull,”  de¬ 
void  of  sociability,  a  tendency  to  cliquism, 
and,  above  all,  want  of  general  cleanliness 
throughout  the  building?  Drink  charged 
dearer  than  the  public-house,  and  not  so 
good  (generally  undrinkable),  and  not  Club 
prices. 

What  is  to  be  the  future  of  this  Infant 
Club?  Will  it  get  the  experienced  “nurse  ” 
that  means  its  life,  or  is  it  to  be  dragged 
up  in  the  gutter  style  that  is  so  perilously 
near,  and  will  in  time  be  shunned  by  those 
(members)  who  have  no  voice  or  action  in 
its  rearing?  The  pity  of  it! — Second  Sight. 

Stage 

Screencraft 

Mr.  Speaker, — Matheson  Lang,  in  an  in¬ 
terview  in  a  Sunday  paper,  says: — “Gener¬ 
ally  speaking,  I  believe  regular  stage  work 
is  the  best  preparation  for  film  acting.” 
Unfortunately,  this  pontifical  pronounce¬ 
ment  clashes  with  that  of  W.  D.  Griffith, 
t;he  groates-t  director,  with-  his  vast  ex.- 
perience  of  film  work  and  his  many  world- 
masterpieces.  It  is,  too,  inconsistent  with 
a  further  statement  in  the  same  interview  : 

“  I  feel  that  most  dramas,  especially  the 
romantic  and  poetic,  would  lose  their  ap¬ 
peal  and  charm  if  the  actors  were  not  seen 
in  person  and  their  voices  heard.” 

Obviously,  Matheson  I.ang  realises  that 
the  sheet-anchor  of  the  stage-actor,  on  wfbch 
he  principally  relies  as  a  means  of  ex¬ 
pression,  is  his  voice.  What  a  glorious 
voice  Matheson  Lang  has  and  what  a 
range  ! 

But  with  all  his  vast  stage-acting  experi¬ 
ence,  he  admits.  “In  many  ways  I  find  that 
film-acting  is  more  difficult  than  on  the 
stage.  The  absence  of  words,  the  fact  that 
you  are  often  quite  alone,  and  the  piecemeal 

( Continued  on  page  S  ) 


ARE  YOU  IN 

THE 

CRIMSON 

CIRCLE 


10 


September  23,  1922 


THE  MOTION  PICTURE  STUDIO 


CLUB  CLATTER 

by  CLATTER  BOX 

^IDNEY  JAY  has  presented  the  Club 
with  a  clock  for  the  billiard  room, 
and  has  offered  to  start  a  fund  for  securing 
a  new  billiard  table  by  giving  £25  if  suffi¬ 
cient  money  can  be  collected  to  supply  the 
balance  of  about  £100  required  for  the  table. 
Another  matter  of  interest  to  billiard  en¬ 
thusiasts  is  that  Fred  Granville  and  Peggy 
Hyland  have  presented  a  Cup  and  a  pair 
of  cues  to  be  competed  for  in  the  billiard 
room.  This  means  that  we  are  shortly  to 
have  another  billiard  tournament — always 
a  popular  event. 

Most  members  are  aware  of  the  fact  that 
for  two  shillings  hot  lunches  are  being 
supplied.  Some  attractive  menus  have  been 


“  I  would  like  to  thank  you 
from  the  bottom  of  my  heart,  not 
only  on  my  own  behalf,  but  on 
behalf  of  my  fellow  artistes,  for 
past  and  present  help  which  you 
are  giving  us  through  the  pages 
of  the  “  Motion  Pieture  Studio." 
It  inspires  me  to  future  effort, 
encourages  me  when  down,  and 
is  what  I  consider  at  the  moment 
the  film  artistes'  ‘  Best  Pal/  I  look 
forward  to  Saturday  mornings 
for  my  'Tonic/  and  it  never 
disappoints  me." — 

FLORA.  LB  BRETON. 


presented  since  this  new  feature  started, 
and  members  are  not  slow  to  show  their 
appreciation  of  the  good  value  they  are 
getting  for  their  money.  In  order  to  keep 
the  catering  department  going,  it  will  be 
necessary  for  members  to  give  all  their 
support  by  lunching  at  the  Club  whenever 
possible,  and  doing  their  utmost  to  see  that 
the  tables  at  lunch  time  are  always  well 
filled.  The  new  cook  is  a  capture  and  is 
turning  out  excellent  dishes. 

If  we  are  to  judge  by  last  Saturday  night, 
when  a  record  crowd  turned  up  for  the 
weekly  dance,  the  present  dancing  accom¬ 
modation,  although  suitable  for  the  summer, 
will  not  suffice  during  the  coming  winter, 
when  there  is  bound  to  be  a  larger  attend¬ 
ance  on  Saturday  nights.  Last  Saturday’s 
dance  went  off  very  well,  and  it  was  pleas¬ 
ing  to  see  such  a  large  number  of  people 
present.  Possibly,  if  overcrowding  does  take 
place,  the  Entertainments  Committee  will 
be  able  to  deal  with  the  matter. 

During  the  week  the  workmen  have  been 
busy  constructing  suitable  fire  exits  for 
the  safety  of  the  Club’s  members.  The 
London  County  Council  orda'ns  that  srch 
things  must  be,  so  we  cannot  complain 
of  the  big  notices — “Exit  in  case  of  fire 
which  meets  one  on  levery  landing  and 
considerably  disfigures  the  Club. 

Amongst  the  distinguished  visitors  to  the 
Club  during  the  week  was  W.  W.  Jacobs, 
who  was  present  shortly  after  the  success¬ 
ful  Trade  showing  of  his  latest  story  to  be 
filmed  by  Artistic,  “The  Skipper’s  Wooing.” 


BOOST  BRITA  IN 

Launching  the  scheme  for 
brinoinor  British  Films  to  the 

<■>  O 

notice  of  the  world  and  opening 
up  the  world’s  markets  to 
our  native  product 


r  J  ’HE  announcement  made  in  these  columns  last  week  that  this  journal  has  appointed 
itself  the  Publicity  Agent  for  the  British  Industry  has,  as  was  to  be  expected, 
created  great  interest  in  the  business.  We  have  made  it  perfectly  clear  that  in  our 
opinion  this  country  has  already  proved  her  capacity  for  making  really  good  British 
films  with  a  world  appeal  by  the  series  of  excellent  productions  that  have  recently 
been  offered.  Furthermore,  we  have  been  assured  by  prominent  Americans  that  there 
is  no  bar  in  the  States  against  British  films  because  they  are  British  but  that  with 
judicious  exploitation  and  skilful  publicity — the  best  of  our  native  product  is  certain 
of  a  welcome  by  the  American  trade.  Below  we  print  a  few  of  the  many  letters  we 
have  received  pledging  support  to  the  scheme  and  next  week  hope  to  be  in  a  position 
to  announce  the  first  steps  we  propose  to  take  in  its  execution. 


A  FEW  OPINIONS 


B  OOSTING  British  pictures  is  a  fine 
ideal.  Whch  does  not  mean  that  I 
do  not  think  that  you  will  achieve  your 
ideal.  Ideals  are  not  by  any  means  the 
unrealisable  things  which  the  anti-pro¬ 
gressive  would  have  us  believe.  Prob¬ 
ably  fifty  per  cent,  of  the  success  of  the 
American  films  is  attributable  to  open 
publicity  and  to  quite  propaganda.  The 
other  fifty  per  cent,  is  the  financial  back¬ 
ing  which  pays  for  the  boosting  and  for 
the  production  of  good  pictures. 

A  couple  of  years  ago  Germany  pro¬ 
duced  a  few  remarkably  fine  pictures. 
These  were  amongst  a  deluge  of  common¬ 
place  and  unattractive  films  ;  but  the  good 
ones  were  boosted.  What  is  the  result? 
The  Germans  do  not  send  their  pictures 
to  England  and  America  to  try  and  sell 
them.  Englishmen  and  Americans  go  to 
Germany  to  buy  German  pictures. 
Directly  a  German  company  produces  a 
good  picture  that  is  at  all  suitable  for 
foreign  markets,  it  is  bought  up.  The 
moral  is  obvious. 

Boosting  one’s  good  pictures  not  only 
attracts  buyers,  but  attracts  capital.  It 
attracts  two  of  the  most  essential  supports 
to  successful  production.  We  shtdl  all  be 
most  grateful  to  The  Motion  Picture 
Studio  for  its  new  endeavour  on  behalf 
of  British  film  production.  We  will  be 
at  the  top  of  the  tree  one  day,  and  you 
are  bringing  nearer  “  Der  Tag.” — Adrian 
Brunei.. 

EJJO  my  mind  the  best  way  of  boosting 

British  productions  in  America  is  to 
make  much  of  that  which  Americans  want 
to  see  in  pictures  and  cannot  get  in  their 
own  productions. 

For  example,  take  a  singular  and 


imaginary  case.  A  film  goes  over  there 
with  scenes  depicting  the  Houses  of  Par¬ 
liament,  and  others  of  some  famous 
castle.  The  publicity  of  that  picture 
would  have  to  be  mostly  concentrated  on 
the  fact  that  these  beautiful  and  well- 
known  places  appear  in  the  film. 

I  base  my  views  on  what  I  heard  from 
American  film  people  and  others  whom  I 
met  out  in  Los  Angeles  and  Vw  York 
last  year.  They  all  said,  “Let  us  see 
your  beautiful  country,  your  old  houses, 
your  world-famed  places,  but  it  is  no 
use  without  good  acting,  good  photo¬ 
graphy  f&nd  good  lighting.  We  have 
good  actors  over  here  and  good  camera¬ 
men,  and  so  have  you,  but  we  have  not 
your  'beautiful  settings.  We  (have  to 
build  our  old  houses  at  great  cost,  and 
the  result  falls  very  short  of  the  real 
thing.  You  have  not  only  England  but 
the  whole  of  Europe  to  work  on,  any 
place  of  which  you  can  go  to  in  half 
the  time  it  takes  to  cross  the  United 
States.” 

So  to  my  minci  our  great  pull  over 
American  films  are  our  locations,  and 
that  is  the  point  to  press  home.  —  Waller 
Tennyson. 

I  NY  movement  which  has  as  its  eventual 

object  the  popularising  of  British  films 
in  America  must  receive  the  commenda¬ 
tion  from  all  sections  of  the  British  Indus¬ 
try.  I  think,  therefore,  you  are  to  he 
heartily  congratulated  on  your  new  effort 
in  this  direction. — Walter  West. 

E  your  article  “Boost  Britain,”  I  con¬ 
sider  your  scheme  of  'providing  the 
American  Press  with  news  concerning 
Britain’s  best  productions  an  excellent 
one.  It  seems  to  me  it  should  help  pro¬ 
ducing  firms,  producers  and  artistes.  I 
trust  it  will  be  very  successful. — Stewart 
Rome. 


THE  MOTION  PICTURE  STUDIO 


September  23,  1922 


CAMERAMEN’S 


SECTION 


News  and  Views 
and 

Record  of  Activities  of  K  i  n  e  -  C  a  m  e  r  a  m  e  n 


SELF-MADE  MARTYRS 


MARTYRS  are  wonderful  people  ;  we  all  admire  them,  but  after  all,  what 
satisfaction  do  they  get  out  of  it  ?  So  far  as  we  know  they  do  not  derive 
any.  That  is  the  great  drawback.  It  is  the  reason  why  martyrs  are  so 
few  and  far  between.  To  become  a  real  honest-to-goodness  martyr,  the  dictionary 
tells  us  one  should  die,  so  that  his  death  bears  witness  to  his  faith.  It  is  not 
our  intention  to  deal  with  such  people,  for  we  do  not  know  any  such  connected 
with  the  him  profession.  There  are  many  who  might  be  termed  “  semi-martyrs,” 
who,  although  they  have  no  reason  to  go  the  whole  hog,  suffer  a  great  deal  for 
the  sake  of  their  beliefs,  and  among  these  not  a  few  are  cameramen. 

They  try  to  introduce  their  ideas  of  art  into  a  business  run  by  commercial 
men  ;  gradually  having  to  spend  all  their  time  urging  and  quarrelling  in  an  attempt 
to  get  their  artistic  ideas  into  a  commercial  undertaking,  they  become  unpopular 
and  are  eventually  got  rid  of.  Nor  does  the  matter  end  here.  The  news  goes 
around  anent  the  particular  man’s  disposition  for  arguing  and  interfering,  and 
the  result  is  that  although  he  is  a  first-rate  cameraman,  his  ideas  being  too  ad¬ 
vanced  for  the  average  producing  firm,  he  cannot  find  work.  There  are  many 
such  men  walking  around,  practically  penniless,  who  are  suffering  because  of 
their  so-called  interference,  which  is  really  their  attempts  to  make  the  profession 
something  more  than  a  mere  industry. 

If  the  powers-that-be  prefer  to  have  a  picture  photographed  one  way,  let  them 
have  it  that  way.  It  is  a  fool’s  game  this  martyr  business,  for  although  people 
may  sympathise,  sympathy  is  but  a  poor  compensation  for  a  weekly  wage.  One 
day  we. will  have  things  clone  properly,  but  it  can  all  be  brought  about  without 
suffering — we  don’t  want  martyrs  in  this  profession  ! 


AND  ANOTHER 

\  CCORDING  to  the  Close-Up,  a  Canadian 
film  journal,  B.  J.  Bach,  kinemato- 
g  rap  her  on  the  staff  of  the  Exhibits  and 
Publicity  Bureau  of  the  Dominion  Govern¬ 
ment,  lias  designed  and  built  a  camera 
that  has  several  unique  features  incorporated 
in  it.  First,  the  camera  only  weighs  13  lb., 
unloaded.  Its  size  is  5  by  7  by  7  in.,  upon 
which  are  set  the  regular  Bell'  and  Howell 
magazines.  These  magazines  are  placed  on 
top  of  the  camera  but  not  in  a  direct  line 
with  the  aperture  plate,  being  just  the 
width  of  the  film  to  one  side  of  the  gate. 

The  film  passes  through  the  light  trap  in 
the  magazine,  over  the  feed  sprocket,  forms 
a  spiral  loop,  then  passes  through  the 
carrier  which  is  part  of  the  film  race  or 
aperture  plate.  This  carrier  is  built  on 
hinges.  A  small  crank  on  the  outside  of 
the  camera,  when  turned  45  degrees,  swings 
the  carrier,  which  contains  the  negative, 
clear  from  the  aperture  plate.  The  focusing 
tube  then  comes  forward  and  locks  in  posi¬ 
tion.  Inside  this  focusing  tube  there  is  a 
ground-glass  screen.  This  screen,  when  the 
tube  comes  forward,  is  placed  in  exactly 
the  same  position  as  the  negative  was  before 
the  carrier  swung  it  aside. 

Focusing  is  now  done  through  the  ground- 
glass,  the  image  is  magnified  eight  times 
and  direct,  not  inverted  as  is  the  case  in 
many  direct  focusing  devices. 

After  focusing  the  tube  slides  back  and 
the  carrier  swings  into  its  former  position 
and  locks.  The  film  is  now  in  the  gate 
ready  focused  to  shoot. 

In  the  entire  operation  not  one  frame 
ol  negative  is  fogged.  In  double  exposure 
work  this  is  a  fact  that  should  be  highly 
appreciated. 


NEW  CAMERA 

To  follow  the  film  after  it  passes  from 
the  carrier,  it  forms  another  loop,  passes 
over  the  second  feed  sprocket  into  the 
other  side  of  the  magazine. 

The  carrier  is  a  very  simple  arrangement. 
It  is  just  like  a  door  on  hinges.  When  the 
film  passes  through  this  carrier  it  is  held 
rigid  against  the  aperture  plate  during  the 
exposure  and  the  pressure  plate  and  guide 
rails  prevent  any  side  play  in  the  film 
when  it  is  moving. 

Another  feature  is  the  turret  lens-mount 
which  carries  only  the  elements  of  the 
lenses  minus  their  focusing  mounts.  In¬ 
stead  of  using  each  lens  enclosed  in  a 
focusing  mount,  the  turret  itself  performs 
that  function  for  all  the  lenses.  Doing 
away  with  the  cumbersome  and  expensive 
mounts,  the  turret  is  made  much  smaller 
and  lighter  than  it  would  be  with  the 
lenses  mounted  as  on  other  cameras. 

This  turret-focusing-mount  is  operated 
by  a  handle  which  gives  a  smooth  and 
even  extension  and  enables  the  operator 
of  the  camera  to  bring  the  image  to  a 
fine  degree  of  focus. 

Bell  and  Howell  magazines  are  used  by 
Mr.  Bach  but  a  two-step  take-up-pulley 
has  been  attached  to  them.  In  ordinary 
cases,  when  the  magazine  is  about  half  full, 
the  spring  belt  has  to  slip  around  the  take- 
up  wheel  and  this  is  the  cause  of  un¬ 
necessary  friction.  Mr.  Bach  has  placed 
two  pullev-wheels  on  each  take-up  magazine 
so  that  when  the  magazine  is  half  full  and 
beginning  to  pull,  the  belt  is  simply  slipped 
j  on  to  the  smaller  pulley  and  the  strain 
on  the  film  is  relieved,  and  incidentally, 

1  cranking  is  much  easier. 


CAMERAMEN 
AT  WORK 

T  ACK  COX  had  quite  an  exciting  time 
"  one  day  the  other  week.  It  was  during 
the  filming  of  one  of  the  scenes  from  Stoll’s 
new  Maurice  Elvey  production,  “A  Debt  of 
Honour.”  Much  has  already  been  heard 
about  the  python  which  appears  in  this 
picture,  well,  Cox  had  the  unenviable  job 
of  photographing  the  reptile  last  week  and 
lias  secured  quite  a  number  of  close-ups  of 
it.  It  was  originally  intended  to  borrow 
a  python  from  the  Zoo,  but  when  one  was 
pointed  out  as  a  likely  candidate  for  the 
job,  it  was  mentioned  that  it  required  ten 
men  to  handle  it.  A  smaller  one  has  there¬ 
fore  been  used  in  the  film. 

Theodore  Thumwood  lias  been  working  on 
a  five-reel  subject,  the  first  five-reeler  he 
has  photographed  for  quite  a  number  of 
months  now.  The  picture  is  called  “A 
Gamble  With  Hearts,”  and  is  being  made 
under  the  direction  of  H.  B.  Parkinson, 
for  Master  Films. 

J:mmy  Hodgson  left  Hull  on  Tues¬ 
day  last  on  board  a  small  whaling  vessel 
bound  for  the  Southern  Antarctic.  Jimmy 
has  been  fixed  up  to  act  as  official  photo¬ 
grapher  to  Lever  Brothers  during  this 
whaling  expedition,  ajrd  has  taken  with  him 
over  fifteen  hundred  pounds  worth  of  photo¬ 
graphic  material  to  be  used  on  the  voyage. 
He  expects  to  be  aw'ay  about  nine  months. 
On  Friday  last  he  said  good-bye  to  a 
number  of  his  cameramen  friends  at  the 
K.C.S.  meeting,  and  it  was  recorded  on 
the  minutes  that  the  Society  extended  its 
hearty  good  wishes  to  Jimmy  on  the  voyage. 

It  seems  that  we  are  shortly  to  bid  fare¬ 
well  to  another  cameraman.  At  the  time 
of  writing  I  have  not  yet  heard  who  has 
been  chosen  for  the  job,  but  it  seems  that 
a  cameraman  is  required  to  go  out  with 
an  expedition  to  British  New  Guipea,  and 
that  a  number  of  men  have  been  after  the 
job. 


K.C.S.  OFFICIAL  NEWS 

IT  is  pleasing  to  be  able  to  record  that  the 
meetings  of  the  society  are  once  more 
coming  into  favour  with  the  members,  and 
that  for  the  last  two  weeks  they  have  >een 
fairly  well  attended".  Let  us  hope  that  this 
state  of  affairs  will  continue  throughout  the 
winter,  and  that  members  will  take  a  more 
active  interest  in  the  affairs  of  the  society 
than  has  been  the  case  hitherto. 


The  prizes  awarded  to  the  winners  of  the 
various  events  at  the  recent  outing  of  the 
I  society  are  to  be  presented  at  Australia 
House  on  the  night  of  October  7.  A  dance 
is  to  take  place  on  that  evening,  and  it  is 
j  expected  that  there  will  be  two  or  three 
hundred  people  present.  Cameramen, 
members  of  the  society,  are  able  to  pur¬ 
chase  tickets  at  2s.  6d.  each,  while  tickets 
for  others  outside  of  the  society  will  cost 
five  shillings. 


D.  P.  Cooper  was  present  last  Friday  night, 
this  being  his  first  appearance  since  he  ar¬ 
rived  back  from  Iceland.  Cooper  is  look¬ 
ing  extremely  sunburned  after  his  many 
adventures  in  the  northern  latitudes. 


12 


September  23,  1922 


THE  MOTION  PICTURE  STUDIO 


SCREEN  VALUES 


MEASURING  UP  THE 


WEEK’S  PRODUCT 


“  The  Sporting  Instinct /’ 

Grangcr-Davidson — Directed  by  Arthur 
Rooke — Starring  Lilian  Douglas  and  J. 
R.  Tozer — Supported  by  Somers  Bel¬ 
lamy,  Micky  Brantford,  Howard  K. 
Symons,  Billy  Vernon,  Vivian  Gosnell, 
Hetty  Chapman,  Tom  Coventry— 
Scenario  by  Kinchen  Wood — 'Photo¬ 
graphy  by  Leslie  Eveliegh. 
f  \UITE  a  delightful  subject,  if  one  is 
prepared  to  ignore  the  fact  that  it 
has  no  dramatic  value.  It  is  a  picture 
without  villains,  and  is  excellent  entertain¬ 
ment.  A  number  of  excellent  topical  photo¬ 
graphs  are  introduced,  and  fit  in  with  the 
story  quite  nicely.  Arthur  Rooke  has  got 
t  another  winner  to  his  credit  in  this  pro¬ 
duction,  which  is  something  new  in  sport¬ 
ing  films. 

The  only  real  acting  comes  from  Micky 
Brantford,  who  is  certainly  another  of  the 
front-rank  child  actors.  It  should  ibe  clearly 
understand  that  his  is  the  only  role  that 
gives  any  scope  for  acting,  as  the  film  is 
such  that  the  players  are  only  required 
to  go  about  their  work  in  natural  manner 
and  to  look  pleasant. 

Lilian  Douglas  makes  an  attractive, 
heroine,  and  is  to  be  complimented  on  her 
excellent  performance. 

J.  R.  Tozer  makes  as  much  of  his  role 
as  possible 

Somers  Bellamy,  while  not  the'  popular 
idea  of  a  colonel,  is  good  in  the  part. 

Tom  Coventry  is  very  fine  as  the  burglar, 
and  gives  a  performance  which  can  only 
come  from  one  who  has  had  years  of  screen 
experience. 

Hetty  Chapman  is  a  character  actress  ot 
great  ability,  and  her  work  as  Martha 
Maggs  provoked  a  great  deal  of  laughter. 

Kinchen  Wood’s  scenario  has  been  well 
written,  and  the  various  topical  incidents 
have  been  cleverly  introduced  without  spoil¬ 
ing  the  continuity  of  the  film. 

The  photography  is  of  quite  a  high  stan¬ 
dard,  and  is  consistently  good. 

Summary. 

Direction:  Excellent. 

Leads  :  Good. 

Supports  :  Good,  with  Micky  Brantford 
and  Hetty  Chapman  excellent. 

Literary  :  Scenario  and  continuity  good. 

Lighting  :  Well  done. 

Interiors  :  Realistic. 

Exteriors  :  Suitable. 

Photography  :  Admirable. 

“  If  Four  Walls  Told." 


British  Super— Directed  by  Fred  Paul— 
Starring.  Lilian  Hall  Davies — Supported 
by  Fred  Paul,  Campbell  Grllen,  Minna 
Grey,  Marie  Ault,  Polly  Emery — Photo¬ 
graphed  by  Sidney  Blythe — Scenario 
by  W.  G.  Summers. 

FUST  average  program  stuff,  with  nothing  I 
outstanding  either  in  the  way  of  direc¬ 
tion  or  acting.  The  scenes  that  could  have 
been  the  “Ibig  ”  feature — the  wreck — are 
not  at  all  convincing — indifferently  staged 
and  defective  in  execution. 

red  Paul  is  handicapped  by  attempting 
the  difficult  task  of  playing  a  dual  role 
in  addition  to  directing  the  production. 
And  this  may  account  for  the  fact  that  the 
film  under  review  suggests  better  acting 
than  direction  on  his  part. 

Lilian  Hall  Davies  is  the  best  of  a  medium 
batch.  But  it  may  be  that  the  defective 
performances  of  the  artistes  may  be  duo 
to  the  direction,  which  seems  to  have  been 
concentrated  on  obtaining  conventional 
scenes  in  a  plot  that  does  not  strike  one 
by  its  originality, 


“  The  Skipper's  Wooing." 

Artistic — Directed  by  Manning  Haynes — 
Starring  Gordon  Ilopkirk — Supported 
by  Johnnie  Butt,  Bobbie  Rudd,  Jeff 
Barlow,  Tom  Coventry,  Ernest  Hendrie, 
Cynthia  Murtagh,  May  Price — Scenario 
by  Lydia  Hayward — Photographed  by 
Frank  Grainger. 

HERE  are  numerous  grounds  for  com¬ 
plimenting  the  director,  but  perhaps  the 
chief  is  on  the  fact  that  he  has  skilfully 
preserved  the  inimitable  Jacobs’  atmosphere. 
This  film  is  not  merely  excellent  screen 
comedy — it  is  excellent  Jacobs'  comedy. 

And,  technically,  also,  Haynes  has  sub¬ 
mitted  a  film  that  is  beyond  reproach.  He 
maintains  his  high  reputation  for  filming 
real  Jacobs’  comedy.  The  direction  is  per¬ 
fect,  and  the  result  is  that  every  ounce  of 


real  human  humour  is  extracted  without 
any  attempt  at  forcing. 

As  the  skipper,  Gordon  Hopkirk  is  ideal. 
His  characterisation  evidences  sympathetic 
insight  and  true  artistry. 

Bobbie  Rudd  should  become  our  foremost 
boy  artiste.  He  is  very  clever. 

Cynthia  Murtagh  displays  a  charming 
screen  personality,  coupled  with  real  his- 
1  trionic  ability.  Her  study  of  the  school¬ 
mistress  is  a  gem. 

No  one  can  adapt  Jacobs  to  the  screen 
quite  so  capably  as  Lydia  Hayward.  In 
the  film  under  review  she  again  proves  her 
supreme  worth  as  a  scenarist. 

Some  of  the  best  photography  yet  seen 
in  a  British  film  is  included  in  this.  Inci- 
1  dentally,  Frank  Grainger  has  done  much  to 
j  prove  the  great  value  of  this  country  for 
I  exterior  settings. 


DEATH  OF  F.  G.  KNOTT,  OF  “  IDEAL  ” 


HIS  many  friends  and  associates,  both 
in  theatrical  and  kinema  circles,  will 
be  grieved  to  hear  of  the  death  of  F.  G. 
Knott,  at  the  early  age  of  45.  He  had  been 
in  failing  health  for  some  time.  Following 
on  a  chill  contracted  early  this  year,  after 
many  complications,  he  was  admitted  to 
Westminster  Hospital  about  a  month  ago 
where  he  died  on  Thursday,  September  14, 
of  galloping  consumption. 

Born  in  Devonshire,  1876,  and  educated  at 
Portsmouth  Grammar  School,  he  entered 
the  Civil  Service  at  the  age  of  19.  Four 
years  later  he  commenced  his  theatrical 
career  as  assistant  manager  at  the  old 
Metropole  Theatre,  Camberwell.  He  made 
his  first  appearance  on  the  stage  in  “The 
Importance  of  Being  Earnest,”  with  A.  B. 
Tapping’s  Repertory  Company,  subsequently 
playing  many  parts  with  the  same  company 
and  acting?  ias  general  assistant  to  Mr. 
Tapping.  Then  followed  a  series  of  tours 
in  the  provinces,  including  one  with  Marion 
Terry  in  “As  You  Like  It.”  He  was  with 
Arthur  Bourchier  at  the  Garrick  Theatre  for 
six  years,  during  which  time  he  appeared 
with  that  company  before  H.M.  King 
Edward,  at  Windsor.  Subsequently  he  was 
engaged  by  Henry  Arthur  Jones  for  the 
part  of  “Major  Killjoy,”  in  “Fall  in 
Rookies,”  at  the  Alhambra,  followed  by 
an  engagement  in  “Kipps”  at  the  Lyric, 
and  a  Dickens’  Season  at  the  Savoy,  where 
he  made  a  hit  as  “Winkle  ”  in  “Pickwick.” 
He  also  appeared  in  the  original  production 
of  “  Katawampus,”  with  Louis  Calvert.  In 
1914  he  produced  “Monna  Vanna,  ”  for 
Madame  Maeterlinck,  at  the  Queen’s.  In 
1916  he  played  “Hortensio,”  in  “Taming 
of  the  Shrew,”  with  Oscar  Asche  at  the 
Apollo  and  on  tour.  With  Kenelm  Foss  and 
Ella  Erskine  he  appeared  in  a  Repertory 
Season  at  Bath,  among  other  parts  playing 
with  great  success  “The  Magician,”  in  G.  K. 
Chesterton’s  “Magic.”  His  last  stage  ap¬ 
pearance  was  as  “Whitte”  in  “When 
Knights  were  Bold,”  at  the  Kingswav,  1918, 
during  which  engagement  he  contracted 
double  pneumonia,  from  the  effects  of 
which  he  never  completely  recovered. 

After  this  illness  he  commenced  film 
work,  playing  parts  in  Davidson  Productions 
for  six  months.  He  joined  the  stock  com¬ 
pany  of  the  London*  Films  in  1919,  with 
whom  he  played  many  leading  parts  and, 
subsequently,  undertaking  art  direction  with 
that  company  and  with  the  Alliance  Film 
Corporation.  His  last  engagement  was  with 
Ideal  Films  as  art  director,  in  which 
capacity  his  knowledge  of  costume,  fur¬ 
nishing,  manners  and  customs  of  the  various 
historical  periods,  proved  invaluable  in 
such  well-known  productions  as  “Pickwick 
Papers,”  “Shirley,”  “Old  Wives’  Tale,” 
“Diana  of  the  Crossways,”  etc. 

The  deceased  was  interred  .at  Streatham 
Cemetery  on  Monday,  September  18. 


AN  APPEAL. 

Dear  Sir, — May  I  appeal  through  your 
paper  to  the  many  friends  of  the  laje 
F.  G.  Knott  for  assistance  for  his  widow 
and  little  son  (age  4)  who  are  left  prac¬ 
tically  destitute. 

The  deceased  was  not  insured,  and  all 
his  savings  have  been  absorbed  during  his 
last  illness. 

I  can  assure  you  that  this  is  a  most 
deserving  and  pitiable  case.  The  late  Mr. 
Knott  kept  his  final  poverty  to  himself, 
and  it  came  as  a  great  shock  to  me  to 
discover  that  his  widow  was  not  only 
penniless  but  in  debt. 

Mrs.  Knott  and  I  are  preparing  a  list  of 
the  deceased  actor’s  collection  of  valuable 
books  on  costume,  furniture,  etc.,  his  only 
remaining  asset,  in  the  hope  of  realising 
enough  to  pay  off  the  debts  unfortunately 
incurred  towards  the  end.  I  shall  be 
pleased  to  forward  a  copy  of  this  list,  when 
complete,  to  any  interested  reader  who 
sends  me  a  stamped  envelope  for  same. 

In  the  meantime,  Mrs.  Knott  is  urgently 
in  need  of  help,  and  I  am  personally 
canvassing  all  the  friends  I  know;  but  I 
am  writing  this  letter  in  the  hope  that  his 
many  friends  and  acquaintance  who  are 
not  known  to  me,  will  come  to  the  rescue 
of  the  deceased’s  widow  and  little  son. 

All  subscriptions  should  be  sent  to  me 
at:  Flat  A,  88,  Newman  Street,  London 
VV.I  and  (with  your  permission)  the  same 
will  be  gratefully  acknowledged  through  the 
columns  of  your  paper.— Very  faithfully 
yours. — W.  Keith  Moss. 


H  AYDEN  COFF  1  N 

PALACE  THEATRE,  LONDON. 
bpeakS  as  the  “  Prophet  John,"  the  Pr.  logue  to 
I  he  hour  Horsemen  of  the  Apocalypse” 
2-49,  8.34,  and  Sundays  7.49.  Free  to  accept  also 
screen  Work  in  the  mornings,  or  to  sing  Ballads 
from  his  extensive  Repertoire  after  appearing  at 
the  Palace. 

_ Phones  :  Gerrard  8671  and  Park  3623. 


KATE  GURNEY 


“Mother”  “Sailor  Tramp" 

“  Mrs.  Junksion  ”  “A  Rogue  in  Love  ” 

“  Jane  Pendril”  “Flight  of  the  King  ’ 

(B.  &  C.  Productions.) 

Specially  engaged  for 
“  Sally  Lunn  ”  in  “  Petticoat  Loose  ” 
(Sinclair  Hill  (Stoll)  Production.) 

KINEMA  CLUB 

’Phone  ;  REGENT  2131. 


13 


THE  MOTION  PICTURE  STUDIO 


September  23,  1922 


COMPLETE  LIST  OF  ALL  THE  BRITISH  STUDIOS,  TOGETHER 
WITH  ADDRESSES,  TELEPHONE  NUMBERS, 


Alliance  Film  Co. 

Studio:  St.  Mrgaret’s,  Twicken¬ 
ham. 

Phone  :  Richmond  1915. 

Route  :  Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s.  Fare  : 
1st,  2s.  OR,  3rd,  Is.  O^d.  ;  R.T., 
1st  3s.  Id.,  3rd  2s.  Id. 

From  Waterloo  :  A.m.,  every 
10  minutes  ;  from  St.  Margaret’s 
every  10  minutes. 

Artistic  Films,  Ltd. 

Address  :  93-95,  Wardour  Street, 

W.  1. 

Phone  :  Gerrard  3210. 

Film  :  “  Skipper’s  Wooing.” 
Director  :  H.  Manning  Haynes. 
Cameraman  :  Frank  Grainger. 
Scenarist  :  Lydia  Hayward. 

Stage  :  Cutting  and  Assembling. 

Film  :  “  Dialstone  Lane.” 
Director  :  Manning  Haynes. 
Scenarist  :  Lydia  Hayward. 
Cameraman  :  Frank  Grainger. 
Stage  :  Scheduled. 

Barkers. 

Address  :  Ealing  Green,  London, 
W.  5. 

Phone:  Ealing  211  and  1582. 
Studio  :  Vacant. 

B  &  C.  Productions. 

Address  :  Hoe  St.,  Walthamstow. 
Phone  :  Walthamstow  304  and  712. 
Route  :  Bus  38.  Tram  81  to 
Bakers’  Arms.  G.  E.R.,  Liver¬ 
pool  Street  to  Hoc  Street. 
Fare:  1st  Is.  2d.,  2nd  10Jd., 
3rd  7d.  R.T.,  1st  Is.  9d.,  2nd 

Is.  4cl.,  3rd  lOJd. 

From  L.S.  :  A.m.  7.58,  then 
every  few  minutes  until  p.m., 
9.5,  9.20,  9.35,  9.50,  10.5,  10.20, 

10.35,  10.50,  11.5,  1  1.20,  11.35, 

11.50,  12.5,  12.35  midnight. 

Hoe  Street  to  L.S.  :  A.m.,  7.53, 

8.2,  8.8,  then  every  few  minutes  ; 
p.m.,  8.20,  8.35,  8.50,  9.G,  9.20, 

9.35,  9.49,  10.6,  10.20,  10.36, 

10.50,  11.6,  11.20,  11.35,  12.2. 
Film  :  Historial  Incidents. 
Director  :  George  Ridgwell. 
Cameraman  :  I.  Roseman. 

Type  :  One  reelers. 

Stage  :  One  a  fortnight. 

Karen  Films. 

Address:  95,  St.  Martin’s  Lane, 
W.C.2 

British  Famous  Films. 

Address  :  “  Woodlands,”  High 

Road,  Whetstone. 

Phone  :  Finchley  1297. 

Studio  Vacant. 

British  and  Oriental. 

Address  :  B.  P.  Studios,  Thornton 
House,  Thornton  Road,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Studio  being  used  by  Quality  Films. 

British  Photoplays. 

Address  :  Devon  Chambers,  2S, 
Fleet  Street,  Torquay. 

Not  Working. 

British  Productions. 

Address  :  Selborne  Road,  Hove. 


Film  :  Historial  Subjects. 
Director  :  Lieut.  Daring. 
Cameraman  :  A.  Kingston. 

British  Super  Films. 

Address  :  Worton  Hall,  Isleworth. 
Phone  :  Hounslow  212. 

Route  :  Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth. 
Fare  :  1st  Is.  Old.,  3rd  9d.  ; 
R.T.,  1st  Is.  9d.,  3rd  Is.  6d.  ; 

а. m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 
past  each  hour  until  11.51  p.m. 
Extra  trains,  4.43,  5.13,  5.43, 

б. 13,  6.43,  7.13. 

Isleworth  to  Waterloo  :  8.33, 

8.44,  9.3,  9.14,  9.33,  9.44,  10.14, 

10.44.  Same  minutes  past  every 

hour  until  10.44,  11.14  p.m. 

Extra  trains  5.30,  6.0,  6.30. 

Film  :  “  The  Right  to  Strike.” 
Director  :  Fred  Paul. 

Stage  :  Fourth  week. 

Film  :  “  Super  production.” 

Stage  :  Scheduled. 

Daisy  Productions. 

Film  :  “  Wrhen  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson 

Address  :  Lea  Bridge  Road,  E.  10. 
Phone  :  Walthamstow  634. 

Route  :  Bus  Nos.  35  and  38. 
Trams  81,  55,  57. 

G.F.R.  from  Liverpool  Street 
to  Lea  Bridge  Road.  Fares  : 
1st  Is.  2d.,  2nd  10Jd.,  3rd  7d. 
R.T.,  1st  Is.  9-|-d.,  2nd  Is.  4d., 


3rd  lOJd.  A.m.,  10.34 ;  p.m., 
1.20,  3.5,  4.37,  6.27,  8.5. 

Lea  Bridge  to  Liverpool  Street  : 
P.m.,  1.4,  5.27,  5.54,  6.29,  7.7, 
8.4,  8.57,  10.4. 

Film  :  “  Not  Announced.” 

Director:  Arthur  Rooke. 

Star  :  Henry  Vibart. 

Stage  :  First  week. 

Evan-Phillips  Film  Production. 

Address  :  3,  Wardour  Street,  W.l. 

Phone  :  Regent  3282. 

F.  P.-Lasky. 

Address  :  Poole  Street,  Islington. 

Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
and  then  tram  No.  11. 

Studio  being  used  by  Grahame 
Cutts. 

Gaumont. 

Studio  :  L!me  Grove,  Shepherd’s 
Bush,  W.l 2. 

Phone:  Hammersmith  2090-1-2. 

Route  :  Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station 

Film  :  “  The  Scientist.” 

Director  :  Capt.  Calvert. 

Star  :  Marjorie  Hume,  David  Haw¬ 
thorne,  H.  R.  Hignett  and  Frank 
Dane. 

Cameraman  :  Basil  Fmmott. 

Scenarist  :  Alicia  Ramsay. 

Stage  :  Fourth  week. 

CUn  Fnm  Productions. 

Address  :  20,  Lisle  Street,  W.C. 

Studio  :  “  Belgrave,”  Marine 

Terrace,  Aberystwyth. 

Not  working. 


George  uiark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Phone  :  Museum  3012. 

Film-  “Maid  of  the  Silver  Sea.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Stage  :  Fourth  week. 

Grahame  Wilcox  Productions. 
Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
then  tram  No.  11. 

Film  :  “  Paddy  the  Next  Best 

Thing.” 

Director  :  Grahame  Cutts. 

Star  :  Mae  Marsh. 

Stage  :  Second  week. 

Cranger-Bmger. 

Address  :  191,  Wardour  St.,  W.  1. 
Phone  :  Gerrard  1081  and  1728. 
Studios  :  Haarlem,  Holland. 

Film  :  “The  Lion’s  Mouse.” 
Director  :  Oscar  Apfel. 

Stars  :  Mary  Odette,  Wyndham 
Standing,  Marguerite  Marsh  and 
Rex  Davis. 

Stage  :  Scheduled. 

Granville  Productions. 

Address  :  Windsor  Studios,  Brom¬ 
ley  Road,  Catford. 

Phone  :  Lee  Green  948. 

Film  :  “  Shifting  Sands.” 

Director  :  FreJ  Granville. 
Starring:  Peggy  Hyland. 
Cameraman  :  Walter  Blakely. 

Type  :  Five  reel  drama. 

Stage  :  Gutting  and  Assembling. 

Film  :  “  Hennessey  of  Moresby.” 
Stage  :  Starting  shortly. 

Hardy. 

Address:  13,  Gerrard  St.,  W.L 
Film  :  “  The  Adventures  of  Billy 
Bunter.” 

Stage  :  Scheduled. 

Harma  Clarendon. 

Address  :  16,  Limes  Road,  Croydon 
Phone  :  Croydon  921  and  2084. 

Not  working. 

Hepworth  Picture  Plays. 

Address  :  Walton-on-Thames. 
Phone  :  Walton  16. 

Route  :  From  Waterloo.  Fare  : 
1st  4s.  lljd.,  3rd  2s.  6d.  ;  R.T., 
1st  7s.,  3rd  4s.  4£d. 

From  Waterloo :  A.m.,  7.0, 

8.0,  9.20,  10.20,  11.20;  p.m., 

12.20,  1.20.  2.20,  3.20,  4.20,  4.54, 
5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  8.20,  8.55,  9.20,  10.20, 
11.34. 

From  Walton  :  A.m.  7.59,  8.29, 
8.41,  8.56,  9.9,  9.46,  10.10,  11.10  ; 
p.m.,  12.10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44,  6.10.  7.10,  8.10,  9.10, 

10.10,  10.35,  11.34. 

Film  :  “  The  World  o'  Wonderful 
Reality.” 

Director  :  Henry  Edwards. 

Stage  :  Nearing  completion. 

Film  :  “  Pipes  (  f  Pan.” 

Director  :  Cecil  Hepworth. 

Stage  :  Nearing  completion. 


STUDIO  MANAGERS 

are  earnestly  requested  to  co-c  perate  with 
us  in  keeping  this  record  ac  urate  and  up- 
to-date  by  returning  tbe  postcards  we  send 
them  each  week  with  full  details  of  tkeir 

CURRENT  PRODUCTIONS 


AGENCE  DEBRIE,  LONDON. 

Kirematograph  Studio  &  Factory  Apparatus. 

U  wa  emt  wot 


’ Phone  : 


DEBRE 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  G  aranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W.  i 


14 


September  23,  1922 


THE  MOTION  PICTURE  STUDIO 


FULL  PARTICULARS  OF  CURRENT  PRODUCTIONS,  ROUTES 
AND  FARES  FOR  REACHING  THE  STUDIOS 


Ideal. 

Address  :  Borehani  Woods,  Elstrce, 
Herts. 

Phone  :  Elstrce  52. 

Route  :  Trains  from  St.  Pancras. 
Faro  :  1st  2s.  lid.,  3rd  Is.  9J-d.  ; 
R.T.,  double  faro.  A.m.,  7.30, 
8.0,  8.50,  9.55,  10.45,  11.40; 

p.m.,  12.33,  1.13,  2.35,  3.55,  4.45, 
5.12,  6.2,  6.43,  6.48,  7.15,  8.8, 
9.18,  10.35,  11.35. 

From  Elstrce  to  St.  Pancras  : 
9.48,  10.39,  11.25,  12.31,  1.8,2.15, 
3.7,  3.56,  4.37,  5.29,  6.21,  6.25, 
7.36,  S.49,  10.14,  10.56. 

Studto  Manager  ;  F.  A.  Kendrick. 
J  rt  Director  :  J.  T.  Garside. 

Film  :  “  The  Grass  Orphan.” 
Director  :  Frank  Crane. 

Star  :  Margaret  Bannerman. 

Stage  :  Completed. 

Film;  ‘’Green  Sea  Island.” 
Director  :  Thomas  Bentley. 

Stars  :  Flora  Le  Breton  and  Clive 
Brook. 

Stage  :  Second  week. 

Film  :  “  This  Freedcm.” 

Director;  D.nison  Clift. 

Star:  Fay  Compton. 

Scenarist  :  Denison  Clift. 

Stage;  Preparing  Scenario. 

Film  :  “  Harbour  Lights.” 

Director  :  Tom  Terriss. 

Star  :  Tom  Moore. 

Cameraman  :  W.  Shent.on. 

Stage  ;  Second  week. 

International  Artists. 

Address:  52,  Shaftesbury  Av.W.  1. 
Film  :  “  Desert  Sand.” 

Director  :  Bert  Wynne. 

Stars  :  Doris  Eaton,  Walter  Tenny¬ 
son,  and  Warwick  Warde. 

Stage  :  Assembling. 

Film  :  “  God’s  Prodigal.” 

Director  :  Ed.  Jose. 

Cameraman  :  C.  McDowell. 

Stage  :  Casting. 

Isle  of  Man  Films. 

Address  :  The  Manx  Studios, 
Isle  of  Man. 

Not  working. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington, 

Phone  :  Kingston  1617. 

Route  :  From  Waterloo  to  Tedding¬ 
ton.  Fare  :  1st  2s.  7£d.,  3rd 
Is.  4d.  ;  R.T.,  1st  4s.  4|d.,  3rd 
2s.  8d.  From  Waterloo,  a.m., 
7.55.  Then  trains  every  few  \ 
minutes  until  11.55  p.m.  From 
Teddington,  a.m.,  7.51.  Then 

trains  every  few  minutes  until 
11.1,  11.16,  11.51  p.m.  Bu3  27. 
Film:  “Sporting  Subjects.” 
Directors  :  H.  B.  Parkinson,  Ed¬ 
win  J.  Collins  and  George  Wynne 
and  Challis  Sanderson 
Cameraman  :  Theo.  Thumwood. 
Type  :  One  reelers. 

Stage  :  Two  a  week. 

Film  :  “  A  Gamble  with  Hearts.’ 


Director  :  H.  B.  Parkinson. 
Stars:  Valia,  Madge  Stuart, 

Milton  Rosmer. 

Stage  :  Third  week. 


Film  :  “  The  Green  Caravan.” 
Director  :  E.  J.  Collins. 

Star  :  Catherine  Calvert. 

Stage  :  Casting. 

Minetva  Films. 

Address  :  110,  Victoria  St.,  S.W  1. 
Phone  :  Victoria  7545. 

Not  working. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 
Phone  :  Shoreham  19. 

Film  :  “  Rogues  of  the  Turf.” 
Director  :  Wilfred  Noy 
Stage  ■.  Editing. 

Film;  “Against  Feaiful  Odds.” 
Director  :  Wilfred  Noy. 

Star  :  Mavis  Clare. 

Cameraman  :  Stanley  Mumford. 
Stage  :  Third  week. 

Quality  Films. 

Address  :  B.  P.  Studios,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Film  :  One  reelers. 

Director  :  George  A  Cooper. 
Studio  Manager  :  S.  Folker 


Cameraman  :  R.  Tcrreoneau. 
Stage  :  One  a  week. 

Raleigh  King  Productions. 

Address  :  Watcombe  Hall,  Tor¬ 
quay. 

Studio  :  Vacant. 

Rfgulus  Films. 

Address  :  48,  Carnaby  Street, 

Regent  Street,  W.l. 

Not  working. 

Seal  Productions. 

Address:  171,  Wardour  Street. 
Phone  :  Regent  4329. 

Not  working. 

Screenplays. 

Address  :  CranmerCourt,  Clapham 
Phone  :  Brixton  2956. 

Route  :  Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll. 

Address  :  Temple  Road,  Crickh  - 
wood. 

Phone  :  Willesden  3293. 

Route  :  Bus  No.  16. 

Studio  Manager:  J.  Grossman 
Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart 
i  Rome  and  Edith  Bishop. 


Cameraman  :  D.  P.  Cooper. 
Stage  :  Eighth  week. 


A  WELL-KNOWN 
AMERICAN 
FILM  DIRECTOR 

WRITING  IN  THE 
“DAILY  SKETCH”  SAYS: 

“I  know  the  name, age  and  type  of  almost 
every  American  picture  star.  I  know 
all  about  them.  Yet ,  I  do  not  recall 
at  this  moment  the  name  of  a  single 
English  picture  star." 


YOU  CANNOT  AF-  i 

— — - — -  i 

FORD  TO  ALLOW  i 


TH  IS  ST  ATE  OF  ; 
AFFAIRS  TO  EXIST  j 
SO  FAR  AS  YOU  ! 

- - ■■■— ■  H 

ARE  CONCERNED.  I 


A  Ivertisirg,  rates  in  ihe 

MOTION  PICTURE 
STUDIO. 

Fronl  Page  -  £10  10  0 

lnch(8ire 

Full  page  (inside)  5  10  0 
Half  page  „  3  0  0 

Quarter  page  „  115  0 

Smaller  spaces  at  the 
pro  rcta  rate  of  5s  per 
single  column  inch. 
F eduction  f  r  series 


Film  :  “  Petticoat  Loose.” 
Director:  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  Lionelle 
Howard. 

Stage  :  Third  v,reek. 


Film  :  “  Top  of  the  World.” 
Director  :  Maurice  Elvey. 

Stage  :  Scheduled. 

J.  Stuart  Blackton. 

Address  :  Bush  House,  Alawyoh. 
Phone  :  Central  1935. 

Filai  :  Not  Announced. 

Director:  J.  Stuart  Blackton. 

Torquay  &  Paignton  Photoplays. 

Address  :  Public  Hall,  IVgnton. 
Not  working. 

Union  Films. 

Address  :  Strand  Street,  Livei pool. 
Phone  :  Central  (Liverpool)  325. 
Not  working. 

Walker  Boyd  Sunshine  Produc¬ 
tions. 

Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. 

Address  :  Princes  Studios,  Kew 
Bridge. 

Phone  :  Chiswick  574. 

Route  :  Bus  Nos.  27,  105. 

Broad  Street  to  Kew.  Fare 
1st  Is.  4d.,  3rd  9d.,  RT.,  1st 
2s.  OJd.,  3rd  Is.  LI.  A.m.,  8.2, 
8.20,  8.45,  9.0,  9.47,  10.17,  10  47, 

11.17,  11.47  ;  p.m.,  12.17,  12.47, 

1.17,  1.47,  2.17,  2.47,  3.17,  3.47, 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40, 
6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 
8.47,  9.17,  9.30. 

Keiv  Bridge  to  Broad  Street  : 
A.m.,  9.40,  10.8,  10.38,  J1.8, 
11.38;  p.m.,  12.8,  12.38,  1.8, 

1.38,  2.8,  2.38,  3.8,  3.38,  4.8,  1.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.2'*, 

6.38,  7.8,  7.38,  8.8,  8.38,  9.8,  9.38. 
Film  :  “  The  Pruning  Knife.” 
Director  :  Walter  West. 

Star  :  Florence  Turner. 

Stage  :  Completed. 

Film:  “The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Violet  Hcpson,  Florence 
Turner  and  James  Knight. 

Stage  :  Starting: 

Welsh  Pearson. 

Address:  41-45,  Craven  Park, 
Harlesden,  N.W.  10. 

Phone:  Willesden  2862. 

Route  :  Bus  No.  IS. 

Film:  “The  Romany.” 

Star  :  Victor  McLaglen. 

Director  :  Martin  Thornton. 
Cameraman  :  Percy  Strong. 

Stage  :  Sixth  week. 


Film  :  “  Squibs  Wins  the  Calcutta 
Sweep.” 

Director  :  George  Pearson. 

Star  :  Betty  Balfour. 

Cameraman  :  Emile  Lauste. 
Scenarists;  Hunh  E.  Wright  and 
George  Pearson. 

Stage  :  Completed. 


15 


(Photo  by  Ernest  Mills  "At  Home  Studio"  185,  Piccadilly,  W.l.) 

PHYLLIS  LYTTON 

LATEST  FILM  ENGAGEMENT  : 

“ PEGGY  WINIFRED ”  in  “ IF  WINTER  COMES ’ 

_ _ _ (FOX  FILMS) 

Sole  Agent:  FRANK  ZEITLIN,  3,  Great  Windmill  St.,  Piccadilly  Circus,  W.l 

’Phone  :  REGENT  6696. 


Printed  and  Published  by  OUHAMS  PRESS  Ltd.,  Lonjj  Acre,  W.C.2. — September  23,  1922 


o - o 


iojCoj 


o  o - o  o 


iolfo] 


o - o 


THE  HOUSE  OF  GRANGER 

presents 

THE  KINEMA  CLUB  PRODUCTION 

“THE  CRIMSON  CIRCLE’ 

with  the  first  real  All-Star  Cast  on  record. 

-o  j  o~- - 


o - o 


-o  i[cp 


O - O  I  o 


•-o 


o - o 


THc.  MOTION  PICTURE  STUDIO 


September  30,  1022 


hayden  coffin 

at  the  PALACE  THEATRE,  London. 

As  PROPHET  JOHN  speaks  brief  PROLOGUE  to 
“THE  FOUR  HORSEMEN  of  the  APOCALYPSE.' 

Daily  2.49 — 8.34  —and  Sundays  7.49. 

Free  to  accept  also  other  engagements  to  sing  at 
Cinema  Theatres,  etc. 

BALLADS  from  his  extensive  Repertoire. 
Phones  :  Gerrard  8671,  and  Park  3693 


ROBSON  PAIGE 

Character  Actor. 

INVITES  OFFERS.  Plas  or  Minus  Nature's 
Beard  and  Moustache. 

St  II,  Blackton,  Alliance,  Fox,  1  he  Windsor, 
Gaumont,  Samuelson,  Davidson,  Ideal, 
Hohnfi.th,  etc. 

SONG  STAGE  EXPERIENCE. 

’Phoiw  Streatham  264. 

Address:  159,  FRANCISCAN  ROAD,  S.W.17. 

'  ADELINE  HAYDEN  COFFIN 

Sympathetic  Mother,  Grande  Dames. 

Character  P  rts,  “  Mrs.  Gatty,”  in  “Christie 
Johnstone  ’’  (Broadvvest),  “  M  trgarei  Ho.ve” 
in  “  Beside  the  Bonny  Brier  Bush  ’’  (Laskv). 

55.  C  mpden  St.,  Kensingto  1,  W  8. 

Tel.  :  Park  3623. 


HUGH  MILLER 

DISENGAGED. 

Corns.  :  Frank  Zeitlin, 

3,  Great  Windmill  Street,  W.  1. 

’Phoi.e  :  Regent  6696. 


MILTON  ROSMER 

INVITES  1MMEDIA  I  E  OFFERS, 
forthcoming  Releases — 

“GENERAL  JOHN  REGAN”  (Stoll) 

“  ROMANCE  OF  WASTDALE  "  ,, 

“PASSIONATE  FRIENDS” 

“WOMAN  OF  NO  IMPORTANCE”  (Ideal) 
16,  WEYMOUTH  STREET,  W.l. 

’Phone  -  I.aneTiam  2243. 


ARTHUR  PUSEY. 

At  present  South  Africa 
Starring  in  “  The  Blue  LagoOn”  for  I.V.T.A. 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 

HE~T  T  Y  CHAPMAN, 

18,  WYMERING  MANSIONS, 

M  AIDA  VALE,  W. 


MARIE  AULP, 

Character  and  Comedy. 

235,  Kings  Road,  Chelsea 


R.  LUCITA  SQUIER. 

Scenarios  and  O  igimls.  Five  vear-  with  Marshal 
Ne  Ion  Productions  “PENROD.” 

A  Id  ess:  44,  Great  Russell  Street,  Lon  Ion,  W.C.2 


THIS  SPACE  TO  LET 
£_, 2  10  0  for  13  insertions 


Consult  .  .  . 

W.  CLARKSON. 

THE  COSTUMIER 
_  1 

41  &  43,  Wardour  Street,  W. 

’Phene;  Gerrard  612. 


SYBIL  JAMES. 

Juvtnil"  and  Character  Parts. 

C'o  MOTION  PICTURE  STUPID 


ALEC.  ALEXANDER 

Juvenile  Artiste.  Jnr. 

OFFERS  WANTED. 
All  corns.:  163,  Hackney 
Road,  E.2. 

Phone  :  Dalston  2583. 
or  KINEMA  CLUB, 
Regent  2131. 


LILIAN 

HALL  DAVIS. 

JUVENILE  LEADS. 
Samuelson,  Ideal,  Gra¬ 
ham  Wilcox,  etc.,  etc. 
All  corns.  : 

Wcrlon  Hall, 

Isle  worth,  Middlesex 


MARGARET 

HOPE, 

Character  &  J  uvenile  Leads. 

Late  Id  at,  Masters,  Stolls, 
etc.,  etc. 

42,  Bland’ord  Squa  'e, 
Marylebone,  N.VV.l. 
Phone  :  Padd.  7211. 


EVELYN  BRENT 


Latest  Productions, 

“  Demos,”  “  Sonia,” 

“  Laughter  and  Tears,”  eti  . 
At  present,  Famous  U.-L. 

Bus.  Corns,  Sidnev  Jav, 
Siite  13,  Palace  House, 
128-132,  Shaftesbu  yAv  ,  \\  .1 
Regent  4o29. 


WARREN 

HASTINGS 


GEORGE  KEENE 


DAISY  BURRELL 

Just  finished  plaving  lead  in 
‘‘Cinderella  ’’  panto. 

Last  Film  :  Star  part  in 
*■  Pride  of  the  Fancy.  ’ 

OPEN  TO  OFFERS. 
39,  Avonnv-  e  Road, 

West  Ke  u-ington. 
Thane  :  Western  675. 


MARY  ODETTE 

Just  concluded  :  “The  Faith¬ 
ful  Heai  1.  ”  diid  “  Windows  ” 
(Comedy  Theatre) 
Latest  Releases  : 

“Wnndeiful  Year’ 

“All  Roads  Lead  tc  Calvary.’’ 
All  coins.  :  Sidney  |ay, 

Sui  e  13,  Palace  House, 
128-132,  Shaftesbury  ,Av.,  W.i 
Revent  432ft. 


GORDON  BEGG 


Dramatic — Character — 
Humorous. 


English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.ll, 
telephone  :  Battersea  21. 


5,  POND  PLACE. 
CHELSEA 
S.W  3 


ROSIN  A 
WRIGHT, 

Famous-Lasky,  Stoll,  Lon¬ 
don.  Samuelson,  Davidson, 
Ideal,  Broadwast,  etc. 

7  years  Film  Experience. 
81,  GOLDERS  WAY. 
GOLDERS  GREEN, N.W  11 
or  Kinema  Club. 


Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club 


Star  Lead.  Disengaged. 
Fe-rtw-ing  —  "  Black  Sheep,” 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters,” 

“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 
Address  : 

121b,  Church  St.,  Croydon 
’Phone  :  Croydon  835. 


GORDON  HOPKlRK 

Leads— Ideal:  ‘Sybil,’  ‘Ernest 
Maltiave  s  ’  Direct:  ‘  our 
MeninaVan.’  Mas'  ers  :*Frua 
D  avolo,’  ’  Br  de  of  Lammer- 
moor,’  ‘Faust,’  ‘  Maritana.’ 
‘  Jane  Sho  e  ’  ‘  Me  1 1  ’ : 

P.  &  B  ‘Settled  in  Full.’ 
B.&C  :  ‘The  Queen’s  Secret.’ 
Artistic  :  ‘The  Skipper’s 
Wooing’  Address: 

^ihool  Hou-e,  Tower  Street, 
W.C.2  .  or  Ki  r ma  Ciub. 


MURRAY 


Character  &  Emotional  parts 
Just  finished  work  in  “Crea¬ 
tion”  for  Raleigh  King  Films, 
now  playing  lead  for  Masters. 
All  corns  :  “LYN“ALE.” 
OAKLEY  RD. 
WHYTELEAFE,  SURREY, 
or  to  the  Kinema  Club. 


THELMA 


ATHALIE  DAVIS 

Juvenile  Leads, 
Comedy  &  Emotional  Parts. 

DISENGAGED. 

Latest  Film  : 

“Hi  ns  Ancient  and  Modern.” 
Coins.  :  70,  Goldhurst  1  er- 
rac  •,  Ham  stead.  N.W. 6. 
’Phone  :  Hninnstead  866. 


NOEL  GRAHAME 

Heavy  Character  &  Coined}-. 
Heavy  lead  :  “Bladys  of  the 
Stewponey,”  “Cost  of  a  Kiss," 
“  Britain’s  Naval  Secret,”  etc. 
12,  Glebe  Place, 

Chelsea,  S.W .3, 
and  Kinema  Club. 

Phone:  Regent  2131. 
Photo  by  Savana 


FRED  WRIGHT. 

The  Crazy  Hunchback 
in  the  colour  film 
“The  Glorious  Adventure,” 
Covent  Garden  Theatre. 
THE  COPSE, 

WES  1’  DRAYTON 
‘Phone.-  Yiewsley  82,  or 
Kinema  Club. 


ERIC 

LEIGHTON 

“At  last  a  veritable 
Prince  among  stage 
princes  :  easy,  grace¬ 
ful,  debonair.  ...” 

The  Times. 

LEADS  ONLY. 

9,  Albany  Courtyard, 

W.L 

Phone  :  Regent  5394. 


FLORENCE  INGRAM 

90a,  LENHAM  GARDENS, 
KENSINGTON,  W. 
West  4319. 

BritLh  Super  Productions, 
Davidson  ;  Beacon  Films, 
Daisy  Productions,  “Mrs. 
S.anton”  second  lead  in 
“  Gypsy  Bio  ad.” 


2 


September  30,  1922 


THE  MOTION  PICTURE  STUDiO 


CAMERAMEN. 


ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN— 

:  SCIENTIFIC  OUTFIT,  i 
Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  ctreet,  W.C.2. 

’Phone — Regent  2131. 


L.  G.  E  G  R  O  T 

EXPERT  CAMERAMAN. 

“  The  Better ’Ole, ”  etc.,  etc., . 

. “  The  Wonderful  Story.” 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W. 2. 

’Phone  :  Streatham  3085. 


THIS  SPACE  TO  LET 
£ 2  10  0  for  13  insertions 


JOHN  SALTER.  Estd,  1896. 

Cameras — Projector  s—  Repairs, 

13,  Feathers'.one  Buildings,  Holborn,  W.C. 
Phone;  7408  Chancery. 

To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
SUPPLIED 

From  your  own  Photo,  in  best  glossy  style  : — 
One  position  17/6  per  gross. 

Two  positions  30/-  ,, 

Apply— 

PICTURES,  LTD.,  88,  Loxg  Acre,  W.C. 2. 


LEICHNERS 

WORLD 
RENOWNED 


Obtainable  from,  all  Chemists 
and  Theatrical  Costumiers. 

TElNT 

If  any  difficulty  in  obt  ining 
I  same  apply  direct  to 

tcichnei 

^eriih  Sole  British  Agents  : 

VANITIES  LTD., 
15a,  Whitcomb  St. 

(Off  Leicester  Sq.), 

W.C.2 


GREASE 
PAINTS 

&  POWDERS 


WHO’S  WHERE. 


Several  directors  have  explained  to  us 
tne  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 


“  rpHE  most  useful  column,  to  my  mind, 
end  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  is  ‘Who’s 
Where.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.  ’  ’ — 
CHALLIS  N.  SANDERSON. 

“  T  PERSONALLY  would  like  to  see 
-*•  mere  artistes  using  vour  s-ace  under 
the  heading  of  ‘Who’s  Where.’  ”  — 

H.  B.  PARKINSON. 

“  'T’HE  column  which  is  of  most  service 
to  us,  and  which,  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  ”  — 
NORMAN  WALKER  (Cart.),  Alliance  Films. 


ATWOOD,  ALBAN :  25,  Stanley  Crescent, 
W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.ii.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercorn  Pjace  N  W. 
Hampstead  3U83 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS  :  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

CAREW,  JAMES,  15  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3504 

CHESNEY,  ELIZABETH:  c'o  Miss  M.  rris, 
25,  Clevedon  Gardens,  W.2.  (Flat  4). 
Padd.  5844. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
Redcliffe  Gardens,  S;W.  10.  ’Phone: 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.i  1.  Park  2077. 

ESMOND,  ANNIE ;  43,  Richmond  Road, 
Westbourne  Grove,  W.2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.g. 

FANE,  DOROTHY  :  12A,  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 

GREGORY,  FRANK,  Character ,  107,  St. 
Alban’s  Avenue,  W.4. 

HALLIDAY,  LENA,  14,  Fernwood  Avenue, 
Streatham,  S.W. 

HARRIS,  GEORGE,  22,  Bernard  Street, 
Russe  1  Square,  W.C.l.  Museum  3880. 

HASTINGS,  WARREN,  5,  Pond  Place, 
Chelsea,  S.W. 3.  Western  7160. 

HOWARD,  LIONELLE:  108,  Alderbrook 
Road  Balham,  S.W.  1 2. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977. 


NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  ;  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell,  S.E.5. 

RAYNER,  MINNIE  :  Kingwater  Cottage, 
Churca  Walk,  Thames  Ditton. 

ROME,  STEWART  :  io,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  32.  Lauderdale  Mans. 
Maida  Vale.  Maida  Vale  2177. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  62,  Upper 
Richmond  Road,  East  Putney,  S.W.  15, 
or  Kinema  Club. 

STEERMAN  A.  HARDING:  56  Portland 
Road,  W.11.  Park  2529. 

STERROLL,  GERTRUDE  :  14.  Queen  s 

Road.  St.  John’s  Wood,  N.W.8. 

TEMPLETON,  BEATRIX:  20.  Foxglove 
Street,  Wormholt  Estate,  W.12. 

THATCHER,  GEORGE:  33,  Denbigh 
Strei  t,  Belgrave  Road,  S.W.  Victoria 
2060. 

TREE,  MADGE:  15,  Lancaster  Court,  New- 
man  St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Road 
Barnes,  S.W.  13.  Putney  1945. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 

2131. 

WALCOTT,  ARTHUR  :  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  2131. 

Two  lines ,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a  year,  prepaid. 

Extra  lines ,  is.  per  insertion. 


SCENARISTS  *  .  .  .  . 

GERALD  DE  BEAUREPAIRE, 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 

G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M’LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41,  Glasshouse  Street,  W.I, 

’Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  2131. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39t’i  STREET, 

NEW  YORK  CITY. 

NOW  BACK  IN  LONDON. 


3 


THE  MOTION  PICTURE  STUDIO 


September  30,  1922 


We  stated  that  you  could  not  fail  to  do  Wonderful  Business 


with 


Do  The  Dead  Talk? 

(Passed  by  the  British  Board  of  Film  Censors.) 


Remember!  We  have  16  Years’  Solid  Experience  of 
the  Film  Trade  behind  our  Judgment ! 

The  Film  was  Released  in  the  West  End  of  London  exactly  2  Weeks  after  our  Trade  Show. 


The  Letter  below  Speaks  for  itself: 

THE  SUPER  CINEMA, 

105/7,  CHARING  CROSS  ROAD, 
LONDON,  W.C.  2, 

Messrs.  United  Kingdom  Photoplays,  Ltd., 

29a,  Charing  Cross  Road,  London,  W.C. 

September  18th,  1922. 

Dear  Sirs, 

In  confirmation  of  our  telephonic  communica¬ 
tion  this  morning,  we  were  extremely  disappointed 
to  learn  that  it  was  impossible  for  us  to  keep  the  film 
entitled  “  DO  THE  DEAD  TALK  "  for  a  further 
three  days. 

You  will  be  pleased  to  hear  that  the  film  was 
a  wonderful  success,  quite  beyond  our  expectations, 
in  fact  the  latter  part  of  the  week  we  had  not  a 
vacant  seat  in  any  part  of  the  Theatre,  and  were 
certainly  pleased  with  the  result. 

Had  you  been  able  to  arrange  to  have  a  copy 
printed  in  time  for  to-day’s  showing,  we  should 
most  certainly  have  been  prepared  to  pay  an  even 
bigger  figure  for  the  present  three  days  than  our 
first  booking.  However,  possibly  we  can  arrange 
to  take  same  for  a  further  three  days  in  the  near 
future. 

Wishing  you  every  success  with  this  remark¬ 
able  production,  which  is  undoubtedly  a  first-class 
box-office  attraction. 

Yours  faithfully, 

For  and  on  behalf  of 

Golder’s  Green  Amusements’  )&  Development  Co., 

W.  J.  JOHNS, 

General  Manager. 


Reprinted  from  The  Cinema,  Sept.  7th,  1922. 

“DO  THE  DEAD  TALK? 

SERIOUS  AND  IMPRESSIVE. 


U.K.  PHOTOPLAYS. 


SIX  REELS. 


At  a  moment  when  much  thought  is  being 
given  to  the  subject  of  super-physical  manifestation, 
under  the  more  popular  name  of  Spiritualism,  this 
picture  should  find  a  ready  market.  The  theme  is 
treated  in  a  serious  and  impressive  manner,  and  the 
intervention  of  the  spirit  of  a  departed  mother  in 
order  to  save  her  loved  ones,  first  from  physical 
danger,  and,  finally,  from  a  great  moral  tragedy, 
forms  the  basis  of  a  story  full  of  human  understand¬ 
ing  and  emotion.  In  a  work  of  this  kind  minor 
faults  usually  stand  out  with  far  greater  prominence 
than  in  the  everyday  subjects,  but  it  is  fair  to  say 
that  in  this  case  there  is  precious  little  to  cavil  at. 

The  story  is  direct,  and  convincingly  told,  and 
the  cast  is  well  chosen.  Hermina  France  evidences 
marked  versatility  in  the  dual  parts  of  Blanche  and 
Dorothy,  and  she  is  well  supported  by  Willard  Burt 
as  Bobbie  Carlton.  C.  H.  D. 

Extract  from  Portsmouth  Evening  News,  19th  Sept., 

1922. 

“  One  of  the  most  wonderful  of  modern  pro¬ 
ductions  is  the  great  spiritualistic  picture,  ‘  DO  THE 
DEAD  TALK  ?  ’  which  holds  sway  at  the  Palladium 
Lake  Road.” 


Controlled  Exclusively  by 


UNITED  KINGDOM  PHOTOPLAYS, Ltd 


Phones—  29a,  Charing  Cross  Rd  ,  London,  W.C  2,  and 

Gerrard  8742. 

Cardiff  -  1763. 


3.  PEMBROKE  TERRACE.  CARDIFF. 


Wires— 
Unikinphos, 
Phone,  London. 
Photogeny, 
Cardiff. 


4 


nnnn 


September  30,  1922 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93.  Long  Acre, 
London,  W.C.2, 


Vol.  2  No.  69 


Telegrams— 
Southernwood, 
Rand,  London 

Telephone — 
Gerrard  9870. 


Sept.  30,  1922 


Exhibitors  Support  British  Films. 

[N  recent  issues  we  have  stated  not  only 
A  our  belief  in  the  possibility  of  this 
country  turning  out  films  of  real  quality, 
but  our  conviction  that  already  there  have 
been  produced  British  films  of  a  quality 
that  has  made  America  eager  to  show 
them.  If  the  day  has  not  passed,  it  is 
rapidly  passing,  when  the  nose  of  the 
American  market  is  turned  up  at  British 
films  simply  because  they  are  British.  And 
in  like  manner,  we  believe  that  the  ex¬ 
hibitors  of  this  country  have  now  got  over 
their  prejudice  against  British  films  and 
are  ready  to  give  the  utmost  support  to 
them.  The  percentage  of  British  films 
shown  on  British  films  in  the  past  has 
been  surprisingly  small — it  would  appear 
that  exhibitors  have  been  on  the  side  of 
American  junk  all  the  time.  But  that 
phase  is  passing — exhibitors  are  supporting 
native  productions  and  refusing  to  lend 
their  screens  for  the  propagation  of 
Pan-American  ideas  and  ideals. 

*  *  * 

Stoll  “  Wisdom .” 

|\]OT  that  the  exhibitors,  have  been 
^  altogether  to  blame.  They  are  in  the 
show  game  for  business  and  every  im¬ 
partial  person  knows  that  it  is  the  worst 
of  bad  business  to  offer  dud  stuff  to 
patrons.  And  that  has  been  the  trouble 
with  British  films  in  the  past :  they  have 
been  as  low  in  quality  as  in  quantity. 
Many  British  films  were  so  poor  that  no 
exhibitor  dared  screen  them.  And  the  blind 
block-booking  that  certain  big  British 
producing  concerns  have  adopted  as  their 
renting  policy  has  also  gone  far  to  prevent 
exhibitors  from  supporting  British  pro¬ 
ductions.  We  had  hoped  that  this  system 
had  run  its  evil  course  and  independent 
bookings  are  now  the  accepted  plan  in  most 
quarters.  This  fact  only  serves  to  show 
up  in  greater  relief  the  unwisdom  of  the 
reactionary  policy  outlined  by  Sir  Oswald 
Stoll  at  the  meeting  of  shareholders  of  the 
Stoll  Picture  Productions,  Ltd.  He  sug¬ 
gested  a  revised  form  of  block-booking  at 
the  same  time  saying  that  the  only  sound 
business  basis  was  that  “  pictures  should 
be  supplied  as  and  because  the  public  wants 
them.”  Block-booking  is  the  policy  of 
supplying  pictures  not  “  as  and  because  the 
public  wants  them,”  but  because  the  pro¬ 
ducing  concern  has  made  them  and  must 
get  rid  of  them.  Sir  Oswald  also  added 
that  “  the  public  only  surely  can  be  made 
to  want  them  merely  because  they  are 
supplied.”  In  other  words,  the  public 
has  jolly  well  got  to  want  what  Stoll  gives 
them. 


An  evil  intensified. 

gIR  OSWALD’S  new  scheme  is  to  sell 
the  entire  rights  of  films  for  a  town  for 
a  period  of  five  years  and  added  that 
Prodigal  Son  ”  would  be  offered  that 
way.  This  “  new  ”  scheme  is  really  an 
emphasised  version  of  the  old  blind 
block-booking  evil,  for  it  ties  an  exhibitor 
for  five  years  to  the  output  of  one  studio, 
and  for  films  which  he  cannot  see  before 
he  books  them  for  the  simple  reason  that 
they  are  not  made.  This  sort  of  airy 
verbiage  may  sound  plausible  to  agitated 
shareholders,  but  the  facts  of  the  film 
industry  all  point  the  other  way.  There 
is  no  hope  of  salvation  for  the  industry  in 


George  Ridgwell 


any  form  of  blind-booking.  Sir  Oswald 
must  know  this.  It  is  the  decision  of  the 
Stoll  organisation  not  to  throw  over  its  blind 
block-booking  system  that  prevents  it  join¬ 
ing  the  British  National  Film  League, 
the  chief  and  fundamental  policy  of  which 
is  “  No  bookings  before  Trade  showing.’ 
The  blind-booking  system  is  productive 
of  most  of  the  evils  of  the  business  and 
the  cause  for  much  of  the  present  distress, 
for  it  alone  provides  the  opportunity  for 
poor-quality  films  to  get  on  to  the  screen 
and  so  destroy  the  popularity  of  the 
Kinematograph  form  of  entertainment. 
The  hope  for  the  future  is  in  better  films 

— merit  alone  will  tell  . 

*  *  * 


Norma  Talmadge  Challenged. 

A  GAIN  we  must  revert  to  the  Talmadge 
press  stunt.  In  no  other  country 
is  sincere^patriotism  at  such  a  low  ebb  ag 


this,  where  British  artistes  are  allowed  to 
( literally )  starve  while  an  American  can 
work  a  Press  stunt  at  their  expense.  Norma 
Talmadge’s  stunt  is  a  competition  for 
finding  “  a  British  screen  star  ”  from 
behind  the  counters  or  in  the  offices, 
laundries  and  factories  of  this  country  and 
spend  ( vide  the  Daily  Sketch )  £200,000  on 
her — in  America.  Already  thousands  of 
hopeless  screen  aspirants  have  applied  for 
the  “  job  ” — only  one  can  be  successful ;  but 
the  rest  will  have  the  fires  of  screen  am¬ 
bition  awakened  in  them  to  such  an  extent 
that  the  hopelessly  overcrowded  film 
profession  will  be  invaded  by  thousands  of 
incompetents.  And — such  is  British 
apathy — no  one,  outside  this  journal,  has 
raised  a  voice  of  protest.  If  Miss  Tal¬ 
madge  wants  to  spend  £200,000  on  a 
British  screen  star  ”  we  can  give  her  the 
names  of  dozens  to  whom  a  minute 
fraction  of  that  sum  would  be  a  God-send. 
Let  us  see  exactly  how  sincere  Miss 
Talmadge  is — we  make  her  the  offer  :  if 
she  will  spend  a  tenth  of  that  sum  on 
helping  British  screen  stars  we  will  submit 
a  real  scheme  to  her.  We  await  her 
reply. 

*  *  * 

True  Bigness. 

1 T  has  been  our  good  fortune  to  bring 
*  out  several  special  numbers  in  the 
fifteen  months  of  the  life  of  this  journal, 
but  none  has  been  quite  so  interesting  as 
the  present,  which  devotes  considerable 
space  to  a  really  unique  film.  In  all  the 
history  of  the  film  business  there  has 
never  been  such  a  film  as  “  The  Crimson 
Circle.”  It  is  the  first  altruistic  produc¬ 
tion  known — made  by  the  free  co-opera¬ 
tion  of  the  artistes  for  a  really  selfless  object. 
During  the  past  months  there  has  been 
more  acute  distress  in  the  film  acting 
profession  than  ever  before.  There  are, 
to  our  personal  knowledge,  excellent  artistes 
who  have  existed  day  by  day  on  a  cup  of 
tea  and  a  round  of  toast  and  who  have 
pawned  their  belongings  to  get  even  that 
meagre  sustenance.  Then  that  Big  Man 
with  the  Big  Heart— George  Ridgwell, 
whose  photo  we  reproduce  on  this  page 
could  stand  it  no  longer.  ‘  Let  us  form 
a  Benevolent  Fund  for  these  poor  devils, 
he  said  in  his  rough,  good-hearted  way. 
People  laughed  at  his  beautiful  optimism 
and  thought  to  throw  water  on  his  warm 
heart  by  asking  how  it  was  to  be  done. 
And  George  has  shown  them.  We  know 
the  British  exhibitors  well.  They  will 
be  proud  to  help  native  artistes  help 
themselves.  The  bookings  on  “  The 
Crimson  Circle  ”  will  prove  this. 


5 


September  30,  1922 


THE  MOTION  PICTURE  STUDIO 


REX  DAVIS 

(Juvenile  Lead) 

JAMES  BEARDMORE,  a  wealthy  man, 
receives  an  intimation  that  having 
ignored  the  Crimson  Circle’s  demands,  he 
will  be  “removed.”  He  is  contemptuous; 
and  his  son,  Jack,  cannot  persuade  him  to 
tell  the  police. 

Harvey  Froyant,  a  rich  and  crotchety 
neighbour,  is  less  rash.  He,  too,  has  just 


THE  STORY  OF 
“THE  CRIMSON 
CIRCLE” 

received  a  Crimson  Circle  message.  He 
sends  his  new  lady  ^secretary,  Thalia  Drum¬ 
mond,  out  for  the  afternoon,  and  shows 
the  letter  to  his  sister;  scorning  the  police, 
he  decides  to  enlist  the  aid  of  a  private 
detective,  Derrick  Yale. 

Jack  Beardmore,  meeting  Thalia  Drum¬ 
mond,  declares  his  love  for  her;  but  this 
curious  girl  tells  him  it  cannot  be— and 
leaves  him  perplexed.  Soon  after,  a  shot 
is  heard.  Jack  rushes  into  the  wood  near 
by  to  find  his  father  shot— fortunately  only 
slightly  hurt. 

From  the  other  side  of  the  wood,  Thalia 
is  seen,  agitated — a  revolver  in  her  hand. 

Raphael  Willings,  an  unpleasant  business 
friend  of  FroyAnt’s,  is  in  the  neighbour¬ 
hood.  While  waiting  for  Froyant  in  the 
latter’s  study,  he  prys  round  the  secretary’s 
table  and  finds  a  letter  from  the  Crimson 
Circle  to  Thalia. 

Jack  Beardmore,  in  spite  of  his  father’s 
wish,  gets  Inspector  Parr  down  from  the 
Yard.  Parr  is  welcomed  by  the  Beardmores, 
and  they  all  visit  the  Froyants’,  where 
Derrick  Yale  has  already  arrived.  The  two 
detectives,  private  and  official,  eye  each 
other  askance ;  but  soon  agree  to  combine 
forces.  Froyant  has  been  threatened  with 
death  unless  a  sum  is  handed  to  a  messen¬ 
ger  at  a  forthcoming  Arts  Ball. 

Parr  shortly  afterwards  tells  the  Beard- 


EDGAR  WALLACE 

(The  Author) 

mores  he  has  recognised  Thalia  Drummond, 
the  smart  lady  secretary,  as  a  convicted 
criminal.  Jack  refuses  to  believe  this— even 
the  official  records  fail  to  convince  him. 

The  two  detectives,  Froyant,  and  the 
Beardmores  arrive  at  the  Arts  Ball  on  the 
night,  and  find  that  a  room  has  mysteri¬ 
ously’  been  engaged  by  telephone  in 
Froyant’s  name.  They  are  really  two  con¬ 
necting  rooms;  and  Yale  is  stationed  wait¬ 
ing  in  one  room  with  the  banknotes,  while 
the  rest  remain  vigilantly  waiting  in  the 
other,  the  door  being  ajar.  Suddenly 
a  thud  is  heard;  they  rush  in  to  find 
Yale  unconscious — his  whisky  has  been 
drugged— and  the  money  gone!  Parr  has 
had  two  of  his  men  posted  in  the  corridor — 
no  one  has  entered  or  left  either  room, 
and  there  is  a  sheer  drop  from  the  window. 

While  they  are  tending  Yale  in  the  inner 
room,  the  wardrobe  door  slowly  opens  and 
Thalia  softly  emerges.  As  she  escapes 
downstairs  to  the  ballroom  she  is  seen  to 
have  a  packet  of  money. 

Froyant,  next  day,  tells  the  Super¬ 
intendent  that  he  distrusts  all  detectives — 
including  Parr — and  goes  off  to  Paris,  where 
a  series  of  similar  crimes  had  taken  place 
some  years  previously.  The  Paris  police 
are  most  courteous.  They  tell  Froyant  of  a 
criminal  who  was  reprieved  from  the 
guillotine  and  sent  to  Devil’s  Island.  That 
criminal  afterwards  escaped.  They  even 
show  the  criminal’s  portrait.  At  the  sight 
of  it,  Froyant  is  speechless  with  amazement, 
and  urges  them  to  take  instant  steps. 

Back  at  his  home,  Froyant  rings  up  the 
Superintendent  and  tells  him  he  knows  the 
criminal.  The  Superintendent  sends  down 
Parr.  This  annoys  Froyant — Yale  has  also 
arrived.  He  sends  them  and  the  Beard¬ 
mores  out  into  the  hall  while  he  telephones. 
A  minute  later  he  is  found  stabbed  to 
death.  Who  has  murdered  him? 

Thalia  is  seen  coming  from  outside  the 
French  window.  Raphael  Willings  suddenly 
confronts  her.  His  attentions  are  unwel¬ 
come,  and  her  cry  brings  the  others  from 
the  house.  Learning  the  dreadful  news, 
Willings  accuses  Thalia  of  the  crime,  and 
produces  the  Crimson  Circle  letter  which 
he  abstracted  from  her  table.  Parr,  on  this, 
arrests  Thalia. 

The  next  day  the  whole  mystery  is  solved 
at  Scotland  Yard.  A  French  detective  has 
arrived.  Parr,  Yale,  James  Beardmore, 
Jack,  and  Raphel  Willings  have  all  been 
summoned  by  the  Superintendent,  who, 
armed  with  proofs,  brings  about  an  astound¬ 
ing  and  thrilling  revelation. 

Who  was  the  Crimson  Circle?  This  ques¬ 
tion  is  not  satisfactorily  answered  until 
suspense  has  reached  its  topmost  pitch. — 
P.  L.  M. 


THE  CO-OPERATIVE  SPIRIT 

THERE  is  a  sentimental  as  well  as  a  commercial  value  attached  to  “  The  Crimson 
Circle,”  for  it  owes  its  existence  to  the  Spirit  of  Co-operation  which,  introduced 
into  every  section  of  the  community,  would  make  existence  far  more  tolerable  and  life 
infinitely  sweeter.  And  when  the  complete  record  of  the  British  film  industry  is 
compiled,  the  historian  will  be  forced  to  give  a  prominent  position  to  "  The  Crimson 
Circle  ”  and  the  remarkable  events  that  led  up  to  its  production. 

During  the  winter  of  1921  a  body  of  enthusiastic  film  artistes  and  directors  were 
working  hard  in  order  to  bring  to  fruition  the  ideal  of  a  Social  Club  for  the  benefit 
of  their  fellow  craftsman.  Thanks  to  the  Spirit  of  Co-operation,  the  New  Year  was 
only  a  few  days  old  when  commodious  Club  premises  were  opened  in  Great  Newport 
Street,  and  the  Kinema  Club  of  London  became  the  hub  of  the  British  film  producing 
universe. 

The  launching  of  the  Club  was  a  big  venture — born  of  the  courage  of  conviction  and 
the  strength  of  co-operation.  The  next  problem  was  the  method  by  which  the  Club 
was  to  be  supported.  It  is  notorious  that  1921-22  was  a  dark  period  for  British  films, 
and  consequently  there  was — and  still  is — dire  distress  among  artistes  and  studio 
craftsman.  But  they  are  not  made  of  the  stuff  that  moans  in  adversity,  and  if  the 
Club  was  launched  by  the  Spirit  of  Co-operation  could  it  not  be  supported  in  the  same 
way  ? 

To  this  end  the  Club  members  decided  to  produce  a  picture  by  their  own  concerted 
efforts  ;  the  proceeds  being  devoted  to  the  support  of  the  Club  and  the  formation  of 
a  Benevolent  Fund,  so  that  in  the  dark  periods  of  the  future  the  artistic  workers 
connected  with  British  films  would  not  be  forced  into  such  desperate  straits.  Direc¬ 
tors  and  artistes  gave  their  services  gladly,  unstintingly  and  freely.  I.  B.  Davidson 
and  Screenplays  loaned  their  studios,  Messrs.  Spillman  loaned  furniture,  Kodak 
donated  thousands  of  feet  of  negative  film,  Berman  loaned  costumes,  and  last,  but 
not  least,  A.  G.  Granger,  of  Granger’s  Exclusives,  placed  the  project  on  a  sound  business 
footing  by  undertaking  the  rental  of  the  film  on  a  percentage  basis  by  means  of  which 
the  Club  and  the  Benevolent  Fund  will  gain  in  proportion  to  the  support  that  exhi¬ 
bitors  give  to  Granger’s  Exclusives  on  this  film. 

Self-help  has  been  the  motto.  Face  to  face  with  starvation  the  British  film  artiste 
has  not  squealed— nor  gone  cap-in-hand  to  those  better  placed.  The  British  film 
artistes  have  been  true  British- — instead  of  weeping  and  wailing  over  their  hard  lot 
they  have  set-to  and  produced  a  film  that  will  assist  them  both  now  and  in  the  future. 
It  is  that  spirit  that  the  exhibitors  are  invited  to  support  by  booking  the  first  Kinema 
Club  production. 

Each  year  the  Club  members  will  produce  one  film — and  one  only — for  the  Bene¬ 
volent  Fund  and  the  Club.  Those  films  will  be  unique  as  "  The  Crimson  Circle  ”  is 
unique  ;  produced  in  unique  circumstances,  for  a  unique  object  and  with  a  unique 
cast.  This  latter  point  does  not  need  stressing  beyond  stating  that,  thanks  to  the 
Spirit  of  Co-operation,  “  The  Crimson  Circle  ”  has  a  cast  that  no  single  producing  film 
could  afford  to  engage. — E.  G.  A. 


6 


September  30,  1922 


THE  MOTION  PICTURE  STUDIO 


This  is.  a  special  issue  which  we  have 
devoted  mainly  to  “  The  Crimson 
Circle”  in  the  desire  to  assist,  to  the 
best  of  our  ability,  the  British  screen 
artistes  whose  Benevolent  Fund  and 
Club  will  profit  by  the  bookings  of  the 
film.  We  are  circulating  this,  at  con¬ 
siderable  expense,  to  all  exhibitors  in 
the  country  and  to  America  and  the 
Continent,  and  make  our  appeal  to  the 
exhibitors  to  back  up  the  artistes  in 
this  unique  self-help  venture. 

Last  week  I  referred  to.  the  beautiful 
blunder  of  G.  A.  Atkinson  who 
stated  in  the  Express  that  Matheson 
Lang  in  “  Dick  Turpin’s  Ride  to 
York  ”  proved  himself  a  horseman  of 
no  mean  order,  and  this,  week  I  have 
to  pull  W.  G.  Faulkner  up  for  the 
same  error.  He  says  in  the  Era  that 
the  older  generation  could  not  have 
been  aware  that  Lang  “  was  such  a 
fine  horseman.”  Nor  this  generation 
either — all  hist  riding  scenes  were 
‘  ‘  doubled  ’  ’  for  him  ! 

Jt  is  now  some  years  since  Henderson 
Bland  made  history  as  the  Christus 
in  “  Front  Manger  to  Cross,”  but  this 
film  has  been  ever-green  all  that  time. 
I  now1  learn  that  he  has  just  completed 
a  book  on  this  subject  which  Hodd-er 
and  Stoughton  is  to  publish. 

In  a  Sunday  paper  the  Hon.  Lois 
Sturt  writes  on  “  Illusion  lost,  at 
film  work.’’  After  a  lot  of  the  usual 
drivel  the  writer  concludes  with  “  I  do 
not  advise  girls  to  avoid  film  acting.” 
Just  soq  but  if  I  may  I  Would  like  to 
advise  girls  that  the  film  profession 
has  already  so  many  unprofessional 
people — “  gifted  amateurs,”  throw- 
outs  from  other  professions  and  titled 
aspirants — that  it  has  usurped  the 
place  of  the  Church,  which  used  to'  be 
the  haven  of  refuge  for  the  family 
fool. 

Whites  Mary  Odette: — “To-day  I  have 
passed  through  a  horrible  experi¬ 
ence  and  the  narrowest  escape  from 
death  I  should  think  it  is  possible  for 
anyone  to  have.  My  mother,  Rex 
Davis  and  myself  were  In  a  closed  taxi 
going  out  on  location.  We  were 
crossing  a  canal  bridge,  over  which  the 
Amsterdam!  tram  runs.  Instead  of 
waiting  for  us  to  pass  him,  the  tram 
driver  misjudged  his  space  and  tried  to 
pass  us.  The  tram  caught  in  our  taxi, 
dragging  us  backwards.  Suddenly  the 


taxi  did  a  sickening  skid  round  and 
crashed  backwards  through  the  bridge 
railings.  The  two  back  wheels  actually 
went  over  the  edge  of  the  bridge,  and 
as- the  car  tilted  backwards,  one  front 
wheel  caught  in  the  tram  steps  and 
stopped  us  from  somersaulting  into'  the 
canal  below.  It  Was  so  miraculous 
that  it  took  me  manv  minutes  to 


Few  knew  of  the  impo.  tant  work  be' 
hind  the  scenes  which  Lallie  Forsyth 
(Mrs.  Clifton  Boyr.e)  has  been  respon¬ 
sible  for  in  “  The  Crimson  Circle.”  It 
is  safe  to  say  that  the  him  wou  d  not 
have  been  the  success  it  is  were  it  not 
for  her  unstinting  labours — all  in  an 
honorary  capacity. 


believe  that  we  had  not  gone  over.” 
And  Rex  adds  a  postscript  “  Still 
alive,  sir  !  I  want  to'  say  that  the  ladies 
w[ere  just  wmnderful.  Mary  is  Irish, 
so  you  will  say  that  explains  it!  ”  It 
does1.  And  I’m  jolly  glad  that  the 
accident  had  no  serious  result. 

Lor  the  past  two  weeks  Walter  West 
has  been  busy  casting  and  selecting 
locations  for  his  new  production 
“  Hornet’s  Nest.”  He  is  finding  great 
difficulty  in  casting  several  of  the 
characters,  notably  the  blacksmith  and 
the  ex-mariner.  Although  Mr.  West 
has  interviewed  dozens  of  actors-  for 
the  blacksmith’s  part,  he  finds  that 
many  of  them  do  not  look  the  type, 
despite  the  fact  that  they  are  tall  and 
heavily  built.  The  man  Mr.  West 
requires  is  one  standing  about  6  feet, 
with  brawny  arms  and  a  typical  black¬ 
smith’s  gait,  but  he  must  also  be  able 
to  act,  for  one  of  the  most  tense 
moments  in  the  film  depends  entirely 
on  the  blacksmith.  Mr.  West  is 
anxious  to  select  a  man  from  amongst 


the  ranks  of  legitimate  screen  players, 
so  there’s  a  chance  for  someone. 

I  was  present  at  the  I  rade  show  of 
The  Field  of  Honour,”  the  first  of 
the  series  of  historical  playlets  which 
1  ercy  Moran  and  Jack  Harding  have 
directed  for  British  Productions.  It  is 
really  interesting  from  an  educational 
point  of  view,  and  if  a,  better  story 
value  had  been  supplied  it  would  have 
been  an  exceptional  booking  proposi¬ 
tion  in  this  country.  As-  it  is.  1  should 
think  it  will  go!  big  in  the  States,  where 
they  eat  up  that  kind  of  thing.  British 
Productions  now1  proceeds  with  its 
original  scheme  for  a  series  of  these 
interesting  films. 

I  visited  the  “At  Home  ”  of  Ernest  H. 

Mills,  the  artist  -and  photographer, 
of  185,  Piccadilly,  W.,  last  week,  and 
now  understand  why  he  calls  it  the 
“At  Home  Studio.”  Mills-  is  an 
artiste  of  great  versatility ;  he  com¬ 
bines  photography  with  black  and 
white  sketches,  colour  w'ork  and 
caricatures,  and  is.  the  holder  of  a 
number  of  mechanical  patents.  After 
looking  round  the  studioi  (which  con¬ 
tains  marked  evidence  of  his  inventive 
genius)  1  -spent  an  enjoyable  hour  in 
his  private  theatre  (“  My  own 
Coliseum,”  as  he  terms  it)  previous  to1 
sitting  down  to  an  “  At  Home  tea  ” 
in  the  comfortably  arranged  studioi 
annex. 

The  intense  cold  has  accounted  for 
three  deaths  in  the  Welsh-Pearson 
Scottish  camp  where  “  The  Romany” 
is  now  being  made.  Hugh  E.  Wright, 
who  is  playing  the  part  of  Gipsy  Jim, 
is  most  upset  about  the  affair,  for  the 
three  snakes-  which  have  shuffled  off 
this  mortal  coil  were  featuring  with 
Hugh  in  the  film.  When  he  returns  to 
London  he  will  have  the  task  of  finding 
“doubles.”  for  the  reptile  actors. 
Hugh  himself  narrowly  escaped  what 
might  have  been  a  serious  accident,  for 
during  some  filming  on  a  cliff  he  f el’ 
a  depth  of  twenty  feet  into'  a  bed  of 
stinging  nettles,  and  left  most  of  his 
elbow1  on  the  rock.  “  I  am  still  trying 
to  think  of  a  suitable  death  for 
scenarists  who  think  of  these  things,” 
(j  he  writes. 

(U. 


7 


THE  MOTION  PICTURE  STUDIO 


September  30,  1922 


AMD 


Following  the  example  of  the  “  Star,”  we  have 
arranged  Jor  Ernest  G.  Allighan  and  David 
Robertson  ( the  black  and  white  artist)  to  visit  film 
centres  each  week  Jor  the  purpose  of  a  humorously 
informati\e  article  with  caricature  illustrations. 

Ms  these  visitors  are  phvsically  “  the  long  and  short  of  it,”  the  appropriateness  of  the 
parody  of  the  “  Star  s”  /  amous  headline  will  readily  be  seen.  It  should  be  explained 
that  all  references  in  this  series  are  perfectly  good-humoured  and  no  offence  is  meant 

or  should  be  taken. 

TO  DINE  OR  NOT  TO  DINE 


"VT OW  the  funny  part  about  it  all  is  that, 
'  according  to  all  that’s  good  and  pure, 
this  page  ought  to  be  occupied  by  a  descrip¬ 
tion  of  a  Press  dinner  to  which  the  Artist- 
Fellow  and  I  were  invited  as  a  sequel  to 
(or  a  reward  for)  seeing  a  British  film  in  the 
afternoon.  But — so  far  as  the  Artist-Fellow 
is  -concerned — “  there  ain’t  going  to  be  no 
blooming  dinner.  ”  So  gather  rahnd,  me 
“  ’earties,”  an’  I’ll  tell  yer  orl  abaht  it,  as 
Bill  Shakespeare  would  have  put  it. 

So  soon  as  I  read 
the  invitation  I  knew 
there’d  be  trouble. 
It  read  thusly:  “The 
Blank  Film  Co.  re¬ 
quest  the  pleasure  of 
the  company  of 
Ernest  G.  Allighan 
and  friend  to  dinner 
at  the  .Criterion. 
Evening  dress. 
R.S.V.P.” 

I  could  manage  the  “  R.S.V.P.”  part, 
having  been  well  educated,  both  at  Clark’s 
College  and  the  Pelman  Institute,  but 
“  Evening  dress  ”  spelled  disaster.  (I  might 
add,  parenthetically,  that  I  hadn’t  a 
“  friend  ”  to  take,  so  I  invited  the  Artist- 
Fellow — a  subtle  distinction.)  At  this  junc¬ 
ture  the  Artist-Fellow  remembered  that  he 
had  sent  liis  suit  to  be  cleaned — he  showed 
me  the  ticket.  I’ve  done  the  same  myself 


when  times  were  hard,  so  I’m  throwing  no 
stones.  Fortunately,  a  colleague  in  the  office 
was  about  the  same  build  as  the  Artist- 
Fellow  and  offered  to  lend  him  his.  We 
arranged  that  the  suit  should  be  sent  to  the 
office  and  the  A.-F.  would  change  there  after 
everybody  had  gone  home.  And  I  went  off 
to  my  flat  to  do  ditto. 

Now,  in  the  course  of  a  more  or  less 
chequered  career,  evening  dress  has  been 
the  thorn  in  the  flesh,  the  fly  in  the  oint¬ 
ment,  the  butterfly  on  the  wheel,  and  the 
pebble  on  the  beach.  Evening  dress,  gentle¬ 
men,  will  be  the  death  of  me.  And  last 
week  it  nearly  was ! 

After  a  terrific  struggle,  plus  a  long  pull 
and  a  strong  pull,  I  managed  to  wriggle  into 
a  stiff-starched  shirt.  By  dint  of  an  inherent 
acrobatic  disposition  (my  father  was  an 
accountant)  I  actually  got  my  collar  into 


position,  when  suddenly  I  felt  something 
icy-like  trickling  down  my  right  leg.  As  I 
had  got  a  bad  cold  I  thought  perhaps  that 
it  was  blood.  But  it  was  worse  than  that — 
the  little  studs  tfiat  I  had  studded  with 
studdied  care  had  slipped  out  of  the  front  of 
my  shirt.  So  the  melodrama  began  all  over 


again — and,  oh !  the  stage  manager’s 
language ! 

At  length  I  began  to  look  as  respectable 
as  an  Irishman  in  a  dress  suit  can.  By 
which  time  I  had  reached  the  tie  stage. 

Now,  I  ought  to  explain  that  I  have  three 
pet  aversions — twelve-year  old  cousins,  my 
banker  and  dress  ties.  And  the  last  is  the 
worst;  for  you  can  smack  your  cousins  and 
clear  off  your  overdraft,  but  nothing  this 
side  of  the  Pearly  Gates  (or  the  Eternal 
Cauldron,  as  the  case  may  be)  will  make  me 
an  adept  at  tieing  a  dress  tie. 

However,  I  did  my  best,  which  is  no  more 
than  Napoleon  or  Atkinson,  or  the  Express 
can  do. 

Mind  you,  I’m  not  exactly  bragging  about 
“my  best.”  There  are  others  who  can  do 
better — and  others  who  buy  ready-made  ones. 
Mine  was  made  of  the  stuff  that  mules  are 
made  of.  It  would  persist  in  tickling  my 
chin  at  one  end  and  my  watch  chain  at  the 
other.  I  coaxed  it  to  try  the  horizontal 
position,  but  it  was  obstinately  unconven¬ 
tional. 

1  did  not  dare  untie  it  and  retie  it:  it  would 
might  have  become  worse.  So  I  put  the 
wife’s  silk  handkerchief  round  my  neck  and 
taxied  to  the  office  of  the  Artist-Fellow. 

....  just  like  a  sergeant-major.  Only 
more  so.  His  vocabulary  was  choice. 


After  he  had  finished,  I  asked  him  to 
pour  his  troubles  into  my  sympathetic  ears. 
So  he  started  again  ....  !  1  ?  x  x  y  ! 
j  k  *  *  ?  1  ?  !  (that’s  the  finish  of  it — 
the  rest  was  worse). 

Let  me  describe  him  as  I  saw  him.  The 
trousers  began  two  inches  below  the  knee¬ 
caps  and  ended  where  his  shirt  began;  the 
jacket  nearly  reached  to  his  hips;  the  waist¬ 
coat  revealed  a  chasm  of  white  shirt,  all 
the  way  down  and  about  twelve  inches  in 
width;  his  collar  and  tie  fitted  perfectly; 
he  had  pale  pink  socks  and  a  light  green 
felt  hat. 


Poor  fellow;  I  pitied  him.  He  dared  not 
walk.  He  could  not  move.  He  tried  to  sit 
down  and — biff  !  bang ! — two  buttons  and  a 
seam  went. 

To  my  eternal  shame  I  confess  it :  I  wept 
— wept  with  uncontrollable  laughter.  To 
see  that  streak  of  human  misery,  lit  up 
with  the  lurid  flare  of  over-ripe  Billingsgate, 
was  enough  to  tickle  the  risible  faculties  of 
a  statue  or  bring  a  giggle  to  the  throat  of 
Dean  Inge. 

There  was  nothing  for  it  but  to  shed  his 
borrowed  togs  and  leave  me  to  dine  alone. 
I  wrenched  two  muscles  and  sprained  the 
biceps  of  my  left  ear  in  helping  him  off 
with  his  trousers;  but  when  I  saw  his  nice 
tie  an  idea  and  a  fit  of  envy  struck  me. 

“You  can’t  waste  a  nice  tie  like  that — 
lend  it  to  me.” 

And  this  is  a  testimony  to  his  utter  de¬ 
moralisation — he,  whose  second  name  is 
MacPher-r-r-r-son,  did  so ! 

But  better  followed : 

“You’ll  go  straight  home  and  do  some 
drawings,”  I  suggested  gently;  “and  as  you 
won't  have  the  opportunity  to  waste  your 
money  on  riotous  living.  I’ll  borrow  a  quid, 
if  you  - ” 

And  he  did! 

Outside  the  Criterion  we  took  an  affection¬ 


ate  farewell  of  each  other.  He  fell  on  my 
neck.  I  fell  on  his.  Then  we  fell  on  each 
other’s.  And  then  the  police  fell  on  us. 

•  •  l 

“Dear  Readers, — I  have  just  read  an 
advance  proof  of  this  week’s  ‘  Low  and 
High,’  and  want  to  say  that  it  is  as  true  as 
the  curate’s  egg  was  good.  I  admit  that  as  I 
worked  that  night  I  kept  having  visions  of 
The  Scribbler  toasting  everybody  possible. 
But  I  will  say  this  in  self-defence:  7  never 
mistook  Nelson’s  Column  for  my  long-lost 
brother;  7  never  tried  to  get  a  railway  ticket 
out  of  a  chocolate  machine;  I  did  not 
arrive  at  the  office  at  3  p.m.  next  day. 

“Yours  truly, 

“The  Artist-Feli.ow. 

“P.S.— And  it  was  only  a  ten-lob  note)” 


8 


September  30,  1922 


THE  MOTION  PICTURE  STUDIO 


TRADE  SHOW 
GUIDE 

^  j''  HE  First  Kinema  Club  Production, 
entitled 

“  The  Crimson  Circle,” 

will  be  Trade  shown  in  London  and  the 
provinces  as  follows  : — 

Thursday,  October  5. — New  Gallery, 

Regent  Street,  London,  11.15  a.m. 

Thursday,  October  5. — Stoll  Tyne  Theatre, 
Westgafte  fRoad,  Newcastjle-on-Tyne,  11.15 
a.m. 

Friday,  October  6. — Gaiety  Theatre, 
Peter  Street,  Manchestr,  11.15  a.m. 

Tuesday,  October  10. — Prince  of  Wales’ 
Picture  House,  Liverpool,  11  a.m. 

Tuesday,  October  10. — Scala  Theatre, 
Leeds,  11  a.m. 

Wednesday,  October  11. — Tivoli,  Norfolk 
Street,  Sheffield,  n  a.m. 

Wednesday,  October  11. — Picture  House, 
New  Street,  Birmingham,  11  a.m. 

Thursday,  October  12.— Cinema  House, 
Benfield  Street,  Glasgow,  11  a.m. 

Friday,  October  13. — Picture  House, 
Long  Row,  Nottingham,  11  a.m. 

Tuesday,  October  17 .• — Kinema  Exchange 
(No.  1  Theatre),  Cardiff,  12.15  p.m. 

Wednesday,  October  18. — Queen’s  Picture 
House,  Peter  Street,  Bristol,  11.15  a.m. 


HP  HE  only  other  British  film  to  be  Trade 
shown  this  week,  other  than  the  Club 
film,  is  Maurice  Elvey’s  production, 

“  Running  Water,” 

which  is  an  adaption,  of  A.  E.  W.  Mason’s 
novel. 

Madge  Stuart,  Julian  Royce  and  Lawford 
Davidson  are  the  featured  players. 

I  RADE  Show  :  Tuesday,  October  3,  at  the 
Alhambra  "Theatre,  Leicester  Square,  at 
11  a.m. 


Continued  from  column  3. 
they  are  such  poor  material  that  the  money 
spent  on  them  is  like  water  spilt  on  the 
ground. 

They  are  tedious,  unamusing,  badly  acted, 
senselessly  conceived,  incompetently  staged, 
poorly  photographed,  and  with  less  plot  than 
a  revue. 

Louie  Freer,  at  times,  suggests  possibilities 
as  a  film  comedienne,  but  she  needs  better 
material  and  better  direction.  Cecil  Man- 
nering  is  quite  good  in  ‘‘The  Affected  Detec¬ 
tive,”  and  could  become  a  leading  film 
comedy  merchant  if  he  gets  a  story  behind 
him. 

The  supporting  cast,  with  notable  excep¬ 
tions  like  Betty  Farquhar  and  Madge  Tree, 
give  the  impression  that  they  have  'come 
straight  from  some  kinema  “school.”  If  that 
were  so,  we  could  understand  this  waste  of 
good  celluloid. 


HENRY  WALTON 


Character,  Comedy,  Foreign  i  ypes. 
The  Hotel  Waiter  in  the  Club  Film 

The  Crimson  Circle.” 

'Phone :  Gerr.  6279  or  Kinema  Club. 


SCREEN  VALUES 


THE  WEEK’S  PRODUCT 


MEASURING  UP 

“Squibs  Wins  the 
Calcutta  Sweep  " 

W  elsh-Pearson — Directed  by  George  Pearson 
- — Starring  Betty  Balfour — Supported  by 
Hugh  E.  Wright,  Fred  Groves,  Bertram 
Burleigh,  Ambrose  Manning,  Hal 
Martin,  Annette  Benson,  Donald  Searle, 
Mary  Brough,  Tom  Morris  and  Sam 
Lewis — Scenario  by  Hugh  E.  Wright 
and  George  Pearson — Photography  by 
Emile  Lauste. 

Tf'lHE  picture  tends  to  drag  in  places,  but 
A  otherwise  little  fault  is  to  be  found 
with  it.  The  situations  are  well  handled, 
the  humour  is  spontaneous. 


quite  as  many  laughs  as  the  star  herself  can 
make. 

Fred  Groves  is  natural  as  the  policeman. 

Bertram  Burleigh  has  been  chosen  to  fill 
a  difficult  role,  but  one  that  offers  much  in 
the  way  of  acting.  This  is  undoubtedly 
Burleigh’s  best  performance. 

Annette  Benson  is  good  as  the  sister. 

Mary  Brough  makes  an  appearance,  but 
is  only  on  the  screen  for  a  few  minutes 
Her  work  is  indeed  fine. 

Plal  Martin  makes  a  fine  detective,  Donald 
Searle  is  good  as  the  reporter.  Ambrose 
Manning  gives  a  first-class  performance, 
while  Sam  Lewis  and  Tom  Morris  are  both 
good  in  their  respective  roles. 


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FROM  ARTISTES  TO  EXHIBITORS 

IT  has  been  suggested  in  some  quarters  that  the  film  artistes  of  this 
1  country — some  of  them  starving  ;  most  of  them  in  very  adverse 
Circumstances- — should  hold  a  Flag  Day,  or  organise  street  collecting 
in  order  to  relieve  the  distress  in  the  profession.  We  have  discovered 
a  better  plan  :  we  have  worked  to  help  ourselves — “  The  Crimson 
Circle  ”  is  the  result. 

This  is  a  good  five-reel  detective  drama,  produced  solely  by  members 
of  the  profession  for  members  of  the  profession.  The  capital  outlay 
was  subscribed  by  us,  and  will  be  returned  to  us  with  no  additions 
nor  with  any  special  claims  on  the  revenue  derived  from  the  picture. 
And  now  that  we  have  done  our  bit  to  help  ourselves,  we  appeal 
to  the  British  Exhibitors  to  support  us  by  booking  the  film.  It 
cannot  be  a  box-office  failure  because  of  all  the  circumstances  attached 
to  it.  Even  if  it  is  not  a  super  or  a  dazzling  box-office  attraction,  we 
feel  that  the  Exhibitors  will  not  fail  to  back  up  the  British  film  artistes 


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George  Pearson  has  handled  this  subject 
well,  although  Betty  Balfour’s  dancing  is 
slightly  overdone.  The  scenes  towards  the 
end  are.  intensely  dramatic,  and  are  very 
finely  done. 

Betty  Balfour  can  still  lay  claim  to  being 
the  leading  comedienne  of  the  British  screen. 
In  this  film  she  well  lives  up  to  the  reputa¬ 
tion  she  earned  in  “  Squibs.” 

Hugh  E.  Wright’s  work  is  responsible  for 


FRANK  DUGUID 


We  deeply  regret  to  announce  the 
death  of  Frank  Dugmd,  the  well- 
known  stage  and  screen  actor.  Fred 
Groves.  Chairman  of  House  Com¬ 
mittee  of  which  Frank  ivas  a  mem¬ 
ber,  writes  as  follows  .  — 

I  HAVE  known  Frank  Duguid  as 
clubman,  actor, .  soldier,  fellow 
committeeman  and  friend,  and  know 
how  well  he  filled  each  one  of  these 
capacities.  I  remember  when  Frank 
came  back  from  the  war  smashed  and 
broken  and  dumb.  He  would  carry  on 
conversation  by  writing  reply s  on  a 
pad.  But  he  managed  to  get  humour 
even  out  of  the  pad. 

Operation  after  operation  did  not 
prevent  him  remaining  the  cheery  fellow 
and  faithful  friend. 

Like  many  of  us  he  did  not  find  it 
easy  to  pick  up  his  profession,  where 
war  bad  him  put  it  down,  but  at  last 
caune  the  chance.  He  became  acting 
manager  at  the  Criterion.  Two  months 
of  comfort,  and  leering  fate  stepped  in 
again.  More  illness — another  opera¬ 
tion,  and  Frank  had  left  us.  We  shall 
miss  you  a  lot  kind,  capable  friend. 

Frank’s  last  committee  meeting  is 
closed — “No  further  business.” 


The  scenario  has  been  very  well  handled. 
George  Pearson  and  Hugh  E.  Wright  have 
done  well  here.  The  continuity  flow, 
smoothly. 

Emile  Lauste’s  photography  is  first-class 
throughout,  lighting  and  other  photographic 
details  being  beyond  reproach. 

Revue  Comedies 

Rising  Sun — Directed  by  Bert  Haldane — 
Starring  Louie  Freer  and  Cecil  Man- 
nering — Scenario  by  Susan  Schofield — 
Photographed  by  Sydney  Blyth. 
far  as  two  of  these  alleged  comedies 
^  are  concerned  there  appears  to  be  no 
justification  for  their  existence.  “The 
Affected  Detective,”  in  which  Cecil  Manner  - 
ing  plays  a  good  comedy  part,  is  certainly 
laughable  in  spots,  but  the  other  two, 
“Auntie’s  Wedding  Presents”  and  “Eliza’s 
Romeo,”  are  hopeless. 

These  sort  of  films  do  infinite  harm  to  the 
whole  of  the  British  film-producing  Industry  ; 

Continued  in  column  1. 


•  •  > 


9 


THE  MOTION  PICTURE  STUDIO 


September  30,  192 


BIG  NAMES  IN  A  BIG  FILM. —Top  left:  Rex  Davis,  Lawford  Davidson  and  Madge  Stuart.  Oval:  Madge 
Stuart.  Top  right  the  Ballroom  Scene.  Bottom  (eft:  Rex  Davis  and  Madge  Stuart.  Bottom  right:  Fred  Groves, 
Col,  Robert  English,  Olaf  Hytten,  Sydney  Paxton,  Victor  McLaglen,  Flora  Le  Breton,  Rex  Davis  and  Clifton  Boyne. 


10 


,S*Ti 


September  30,  1922 


THE  MOTION  PICTURE  STUDIO 


.  / 


■■i 


Top  left  :  Colonel  English,  Eva  Moore  and  Rex  Davis.  Tcp  right:  Mary  Odette,  Lawford  Davidson  and  Madge 
Stuart.  Oval  Eva  Moore  and  Col.  English.  Bottom,  left  :  Madge  Stuart  and  Lawford  Davidson.  Bottom  right  : 
Arthur  Walcott,  Bertram  Burleigh,  Sydney  Paxton,  with  Eric  Albury  in  the  background, 


II 


THE  MOTION  PICTURE  STUDIO 


September  30,  1922 


LIGHT  COMEDY 
DRAMA 

by  ARTHUR  BATTEN 

I  AM  rather  inclined  to  believe  that  there 
is  no  need  to  abolish  the  double- 
featured  program  as  stated  by  F.  Rupert 
Crew.  He  rather  shortens  the  performance 
with  his  suggested  program.  Some  picture 
theatres  never  have  double-feature  programs 
but  this  never  makes  any  difference  to  the 
attendance. 

Does  this  list  appeal  to  our  producers 
and  directors? 

(1)  Topical  (1  reel). 

(2)  Light  Comedy  Drama  (4  reels). 

(3)  Episode  of  a  Serial  (2  reels). 

(4)  Interest  or  travel  (1  reel). 

(5)  Comedy  (2  reels). 

(6)  Drama  (5  or  6  reels). 

Some  might  say  at  once  that  this  is  what 
we  are  showing  now.  Yes,  one  week  in 
six.  The  other  five  is  shown  a  heavy  drama 
in  No.  2  place.  And  that’s  all  the  difference. 

I  think  this  would  be  far  more  appre¬ 
ciated  every  week,  because  it  is  not  so 
much  the  length  of  the  film  as  the  variation 
that  is  required  mostly.  My  comments  on 
the  above  are : — 

(1)  Passed  without  comment. 

(2)  Here  is  the  greatest  difficulty.  There 
is  far  too  few  of  these  films  about.  Com¬ 
panies  should  produce  more  of  these  pic¬ 
tures  which  would  soon  find  a  quick  and 
ready  exhibitor.  A  few  examples:  “The 
Pauper  Millionaire,”  “Eliza  Comes  to  Stay,” 
“The  Card,”  “Squibs.” 

(3)  I  find  that  F.  Rupert  Crew  misses 
this  item  out  altogether.  Well,  after  all, 
they  appeal  to  children,  and  plenty  of  them 
are  found  at  evening  performances.  Then 
again  they  prove  rather  exciting,  when  one 
has  just  seen  a  lifeless  drama;  and  again 
some  of  the  serials  are  completed  series 
every  week. 

(4)  Passed  without  comment. 

(5)  I  don’t  quite  understand  Mr.  Crew’s 
meaning  of  “slap-stick,”  but  if  he  alludes 
to  the  ridiculous  impossible  comedies  then 
he  is  wrong  in  saying  that  they  are  not 


CLIFTON  BOYNE 

(as  Dtri  ick  Y ale) 


MADGE  STUART 

(as  Thalia  Drummond) 


wanted.  For  heaven’s  sake  do  not  bar 
the  comedies — the  few  we  do  see  now.  The 
sillier,  the  more  impossible — and  thus  amus¬ 
ing — the  comedy  is,  the  better  the  people 
like  it,  because  it  is  not  meant  to  be  taken 
seriously.  A  great  fault  is  that  our  film 
companies  take  our  kinemas  far  too  serious. 
After  all  they  are  only  a  pleasure,  to  pass 
an  hour  or  two  away,  and  we  want  to 
laugh. 

(6)  Lastly  is  the  drama.  Well,  one  is  al¬ 
ready  aware  that  there  are  too  many  of 
these  films  being  produced,  not  only  in 
England,  but  in  every  other  film-producing 
country.  Take,  for  instance,  the  drama  men¬ 
tioned,  perhaps  good,  but  its  attraction  lies 
in  the  natural  colours.  These  Blacton’s  and 
Griffith’s  mighty  spectacles  and  super  pro¬ 
ductions  are  very  good,  but  far  too  much 
exaggeration  with  displays.  The  public,  I 
fear,  will  soon  begin  to  realise  that  if  a 
picture  is  well  advertised,  and  displayed  on 
10,000  site  boards,  it  is  only  just  an  ordinary 
but  extravagant  production. 

Here,  I  agree,  is  where  the  short  stuff 
is  the  stuff  to  give  ’em.  These  spectacles 
and  super  productions  are  far  too  long, 
and  then  what  are  they?  Merely  ordinary 
pictures  “stretched  out.”  By  cutting  them 
they  would  be  more  successful.  There  are 
too  many  of  these  super  productions  and 
dramas,  and  yet  the  Trade  is  not  improving. 
No  drama  should  exceed  six  reels,  and 
that  only  for  spectacles  and  heavy  types 
which  should  be  few  in  number.  Five  reels 
would  be  more  appropriate. 

Well,  then,  what  will  this  lead  to? 

A  good  variety  program  and  entertaining 
to  suit  everybody.  A  topucal,  a  light 
comedy,  a  dare-devil,  a  travel,  a  “scream¬ 
ingly  funny  ”  comedy,  and  a  drama. 

The  difficulty  lies  in  the  second  item. 

It  is  harder  to  humour  the  public  than 
to  make  them  sad,  and  shed  a  tear — 
especially  on  the  silver  sheet. 

Now  let  us  see  if  film  companies  will 
produce  more  light  comedy  drama.  Instead 
of,  say,  “The  Glorious  Adventure  ”  and 
“  Flowers  of  Passion  ”  let  us  see  more  of 
“The  Card,”  and  “Squibs.” 


“  BOOST 
BRITAIN” 

by  FLORENCE  TURNER 

T  THINK  that  the  subject  of  getting  the 
British  film  into  America  is  a  difficult 
one  for  me  to  handle,  as  so  many  have  dealt 
with  it  in  a  more  than  masterly  manner. 
But  I  can  say  to  my  own  personal  know¬ 
ledge  that  British  films  have  never  had  a 
fair  trial  in  ihe  States. 

In  my  own  offices  in  New  York  City,  dur¬ 
ing  1917-1918,  I  have  heard  men  of  the 
Trade  repeatedly  remark  that  they  would 
not  even  sit  through  a  British  film  to  judge 
it.  Truly  a  most  unfair  and  ignorantly 
prejudiced  opinion. 

One  may  suppose  that  the  end  justifies  the 
means,  but  it  appears  to  me  to  be  absolute 
folly  to  engage  American  artistes  in  order  to 
sell  the  films  in  the  States.  Not  only  that  we 
have  British  artistes  iully  capable  of  carrying 
star  roles  with  credit,  but  it  is  a  weak  atti¬ 
tude  for  the  producers  to  adopt,  and  merely 
defeats  its  own  purpose. 

How  is  Great  Britain  to  compel  American 
attention  regarding  the  excellence  of  its 
films  and  players  if  it  must  engage  Ameri¬ 
cans  for  the  chief  roles?  The  films,  then, 
are  a  crawling  apology  for  being  British, 
and  are  neither  fish,  flesh,  fowl  nor  good 
red  herring.  If  the  whole  production  is 
British,  why  must  it  depend  upon  an 
American  star  to  get  it  over? 

Surely  the  appearance  of  one  American 
player  cannot  change  the  entire  story,  cast, 
technique  and  directing  of  a  British  picture  ! 

If  we’re  going  to  make  British  films,  then, 
for  the  love  of  Mike,  let’s  make  ’em  British. 
Not  cater  to  the  very  opinion  that  we  are 
struggling  to  overcome. 

And  right  here  I  now  see  a  splendid  row 
of  lifted  eyebrows.  Yes,  I  admit  that  the 
foregoing  is  a  strong  and  surprising  state¬ 
ment  for  an  American  to  make — yea,  I’m  an 
American.  But  I  did  not  come  over  here 
for  one  or  two  films  at  a  fabulous  salary  and 
then  tear  back  to  America  to  spend  it ;  or 
make  ridiculous  and  steam-heated  state¬ 
ments  regarding  “my  deep  and  lasting  devo¬ 
tion  for  England,”  and  then  rush  away  from 
it  as  soon  as  possible — and  remain  away. 

For  many  years  I  have  lived  and  worked 
and  made  my  home  in  your  very  lovely 
country,  and  have  a  real  and  genuine  love 
for  it.  It  was  the  misfortune  of  war  (and 
that  only )  that  drove  me  away  from  it  at  the 
end  of  1916.  Never  can  I  forget  how  won¬ 
derfully  welcome  I’ve  been  made  here  both 
by  the  public  and  by  personal  friends.  Hav¬ 
ing  two  British  grandfathers  may  account 
much  for  my  British  sentiments.  I’m  regret¬ 
ful  of  the  facT  that  only  two  were  allowed 
me.  Being  born  in  America  was  an  affair 
ever  which  I  had  no  control. 


SPILLMAN  &  CO., 

Every  description  of  furni¬ 
ture  for  u?e  in  the  studio. 

“  Antique  and  Modern.” 

PATRONISED  BY  THE 
PRINCIPAL  THEATRES. 

101  &  102,  St.  Martin’s  Lane. 

(Opposite  London  Colisenmj 

Phone  :  —  —  —  4276  GERRARD 


12 


September  30,  1922 


THE  MOTION  PICTURE  STUDIO 


CuAe/tn  tA&fy  -asm  ct/rucl' - 

- - toAcCt  -aAe.  -dot/rxq 


Frank  Zeitlin  arrives  back  from  America 
early  next  week. 

Wyndham  Standing  is  starring  in  “The 
Lion’s  Mouse,”  for  Granger-Binger. 

Nessie  Blackford  is  to  play  for  Walter 
West  in  “The  Hornet’s  Nest.” 

J.  Stuart  Blackton  is  to  direct  another 
costume  film  of  the  early  Elizabethan 
period. 

Amy  Verity  is  playing  Ivy  Tresmand’s 
part  in  “The  Lady  of  the  Rose,”  at 
Daly’s. 

Sydney  Seaward  lias  been  engaged  by 
International  Artists  to  play  in  “God’s 
Prodigal.” 

Sunday  Milsham  is  to  play  in  “The 
Green  Caravan  ”  for  Masters  '(Maitt  and 
Myers  booking). 

Madge  Tree  has  been  engaged  to  play 
Margaret  in  “God’s  Prodigal,”  for  Inter¬ 
national  Artists. 

Mrs.  Rovce  has  been  engaged  by  Maitt  and 
Myers  for  Master’s  new  production,  “The 
Green  Caravan.  ” 


Lawford  Davidson  is  appearing  in  one  of 
the  most  important  roles  in  “Green  Sea 
Island,”  for  Ideal. 

Donald  Searle  has  now  completed  his 
contract  with  Quality  in  “The  Cunning- 
liames  Economise.” 

Lottie  Blackford  has  been  engaged  to 
play  for  Ideal  in  “The  Harbour  Lights,” 
through  Jay’s  Agency. 

Harry  Worth  is  back  from  Scotland, 
where  he  has  been  playing  for  Welsh-Pear- 
son  in  “The  Romany.” 

Doris'  Lytton  is  now  turning  her  atten¬ 
tion  to  film  work  again.  Arrangements  are 
in  the  hands  of  Frank  Zeitlin. 

Jack  Phillips-Roberts  has  been  engaged 
through  Zeitlin  to  play  in  Sinclair  Hills’ 
Stoll  production,  “Petticoat  Loose.” 

Laura  Smithson  has  been  plaving  her 
original  part,  that  of  Elizabeth,  in  “The 
Right  to  Strike,”  for  British  Supers. 

Charles  Ashton  has  been  playing  for  B. 
and  C.  as  Llewelyn  in  “The  Last  King  of 
Wales,”  one  of  the  new  “Romance  of  His¬ 
tory  ”  series. 

Marie  Jay,  who  has  just  returned  from  a 
five  years’  dancing  tour  in  America  and 
Canada,  has  been  playing  for  B.  and  C. 
(Zeitlin’s  booking). 

Arthur  Walcott  having  completed  work  in 
one  of  the  B.  and  C.  historical  subjects,  has 
now  fixed  up  to  play  for  Walter  West  in 

The  Hornet’s  Nest.” 

William  Deltrie  has  completed  his  part 
for  Welsh  Pearson  in  “The  Romany,”  and 
is  now  on  exteriors  with  International 
Artists  in  “God’s  Prodigal.” 

Alec  Hunter,  having  recently  completed 
work  in  “Rob  Roy,”  for  Gaumont,  has 
now  joined  the  cast  of  the  new  Walls- 
Henson  play  “The  Balance.” 


Muriel  Gregory  has  been  playing  one  of 
the  five  daughters  in  “  Down  and  Out  ”  for 
Punch  Films. 

Roy  Byford  has  been  engaged  to  play  in 
“Mr.  Garrick,”  a  new  play  which  opens  in 
London  shortly. 


“THE  CRIMSON  CIRCLE” 

Author  :  Edgar  Wallace. 

Scenarist  :  Patrick  L.  Mannock. 

Director  :  George  Ridgwell. 

Assistant  Director:  Harry  Worth. 

Floor  Secretary:  Lallie  Forsyth. 

Cameramen:  J.  Rosenthal,  Phil  Ross  and 
H.  Kingston. 

Cast  :  Madge  Stuart,  Eva  Moore,  Norma 
Whalley,  Thelma  Murray,  Fred  Groves, 
Clifton  Boyne,  Sidney  Paxton,  Rex  Davis, 
Lawford  Davidson,  Flora  L'e  Breton,  Victor 
McLaglen,  Joan  Morgan,  Olaf  Hytten, 
Henry  Vibart,  Bertram  Burleigh,  Cryril  Per- 
cival,  Mary  Odette,  Jack  Raymond,  Douglas 
Payne,  Gordon  Hopkirk^  Harold  Cundall, 
Knighton  Small,  Eric  Albury,  C.  Tilson 
Chowne.  Henry  Victor,  Tony  Fraser,  Kate 
Gurney,  Henry  Walton. 


Muriel  Somerset  has  been  playing  for  B. 
and  C.  in  “Reign  of  Terror,”  “Mary  Queen 
of  Scots  ”  and  “  Blood  of  the  Kings.” 

Hetty  Chapman,  of  the  Old  Gaiety  fame, 
has  recently  completed  work  in  “  The 
Sporting  Instinct  ”  for  Davidson  and 
intends  continuing  with  screen  work. 


Frank  Canham  is  to  photograph  the  new 
Evan-Pliillips  comedy. 

Guy  Newall  is  still  working  upon  “Maid 
of  the  Silver  Sea.” 

George  Caliga,  who  has  been  in  Paris  for 
some  time  is  now  back  in  London. 

Fatty  Phillips  is  to  play  lead  in  “  Fatty’s 
Overtime  ”  for  Evan-Phillips  Production. 

Lottie  Blackford  has  been  engaged  to  play 
for  Walter  WTest  in  “The  Hornet’s  Nest.” 

Bromley  Davenport  is  with  George  Clark 
Productions  in  “  Maid  of  the  Silver  Sea.” 

Athalie  Davis  is  to  play  one  of  the  leads 
in  “  Fatty’s  Overtime,  ”  the  new  Evan- 
Phillips  production. 

Cecil  Morton  York  is  playing  the  Squire 
for  Water  West  in  “The  Hornet’s  Nest,” 
this  being  Mr.  York’s  fourth  production  in 
five  and  a  half  months. 

Winifred  Nelson  has  been  playing  for 
Progress  as  Annabelle  in  “Facing  Fearful 
Odds,”  and  is  now  engaged  by  Gaumont  for 
a  part  in  “The  Scientist.” 

George  Bishop  has  finished  the  part  of 
Inspector  Duer  in  “A  Gamble  With 
Hearts,”  and  is  now  appearing  as  the  butler- 
in  “The  Green  Caravan”  (Maitt  and  Myers’ 
Booking). 

Kinchen  Wood  was  responsible  for  the 
scenario  of  the  new  Davidson  film  which 
Arthur  Rooke  is  now  directing.  During  the 
last  twelve  months  Mr.  Wood  has  written 
sixteen  scenarios,  and  is  now  open  for  com¬ 
missions  or  a  staff  appointment. 


RIDGWELL  ON  LOCATION 


Showing  George  Ridgwell,  with  his  assistant  director,  Harry  Wo.th, 
and  cameramen,  J.  Rosenthal  rehearsing  Madge  Stuart  and  Rex  Davis 
in  a  scene  in  ‘‘The  Crimson  Circle.” 


the  motion  picture  studio 


September  30,  192 


OUR  PARLIAMENT 

Readers  discuss  various  matters  and  air  various  grievances 

NOTE, —  This  is  the  new  form  that  “Letters  to  the  Editor  ”  now  take.  Readers  are  invited  to  comment 

on  the  contributions. 


The  Society 
of  Authors 

Mr.  Speaker. — I  sympathise  with  George 
Keene’s  protest  against  brain-picking.  It  is 
a  risk  we  run  in  all  businesses,  though  in  such 
cases  as  inventors  and  authors  there  do  exist 
protective  measures  in  the  Patents  Act  and 
the  Society  of  Authors. 

Some  four  years  ago  I  was  connected  with 
an  attempt  to  form  a  League  of  Scenarists, 
but  it  was  felt  that  such  an  organisa¬ 
tion  would  be  so  small  that  it  would  be 
provocative  and  unpowerful.  Surely  the  best 
procedure  for  scenarists  would  be  to’  join  the 
Society  of  Authors  which  already  has  a 
Kinema  Committee. 

The  Society  has  agencies  all  over  the 
world  and  is  altogether  a  most  powerful 
body.  The  Legal  Department  is  invaluable 
to  members,  and  often  the  Society  finances 
legal  actions  on  behalf  of  members.  A  large 
number  of  scenarists  are  already  members. — 
Adrian  Brunei.. 

Wisdom  for 
Photo  dramatists 

Mr.  Speaker. — Very  much  in  accordance 
with  the  full  common-sense  advice  and  sug¬ 
gestions  that  you  endeavour  to  sow  in 
scenarists’  and  film-writers’  field,  and  con¬ 
gratulating  you  therefrom,  as  well  as  for  the 
increasing  success  of  your  wonderful  little 
publication,  allow  me  to  transmit  you  a 
thought  from  the  great  Leo  Tolstoy  : — 

"...  To  write  a  rhymed  poem  dealing  with 
the  times  of  Cleopatra,  or  paint  a  picture 
of  Nero  burning  Rome,  or  compose  a 
symphony  in  the  manner  of  Brahms  or 
Richard  Strauss,  or  an  opera  like  Wagner’s 
is  far  easier  than  to  tell  a  simple  story 
without  any  unnecessary  details,  yet  so  thal 
it  should  transmit  the  feelings  of  the 
narrator  .  .  .  which  should  convey  an 
impression  and  be  remembered  by  those 
who  hear  (or  see)  it. 

“Art  is  our  organ  of  human  life,  trans¬ 
mitting  man’s  reasonable  perception  into 
feeling. 

“Art  should  cause  violence  to  be  set 
aside.” 

And  he  was  a  thinker  who'  devoted  fifteen 


SARA  FRANCIS 


as  she  appears  in 
“  THE  CRIMSON  CIRCLE  ” 
Continental  and  London  experience,  with  Alliance, 
Ideal,  etc. 

KINEMA  CLUB.  Regent  2131. 


years  of  his  life  to  study  and  define  what 
Art  is.  He  was  right. 

Referring  to  W.  Pothecary’s  suggestion  in 
last  week’s  Parliament,  it  would  be  an  act 
of  much  appreciated  benefit  to  scenarists 
and  of  valuable  help  if  TLe  Motion  Picture 
Studio  could  publish  lists  of  film-producing 
concerns  abroad  which  could  possibly  prove 
certain  buyers  of  their  works,  I  warmly 
secundate  him  in  his  move,  taking  as  a  base 
the  fact,  that  “if  it  is  true  that  Art  has  not 
an  exclusive  nationality  ”  and  certain  works 
being  conceived  here,  “originally  ”  by 
individuals  whose  names  sound  more  or  less 
strange  to  the  national  ear,  and  which  there¬ 
fore  are  met  unfavourably  by  some  of  our 
over-zealous  directors,  works  that  none  'the 
less  are  gifted  with  touches  of  originality  and 
international  appeal,  could  possibly  meet 
with  better  fate  in  other  more  kind  adoptive 
lands. 

Thanking  you  for  this  opportunity  to 
reiterate  my  best  wishes  towards  the  com¬ 
plete  success  of  all  those  concerned  in  the 
industry,  and  wishing  for  a  change  towards 
the  improvement  of  the  present  situations,  I 
beg  to  remain. — Laughs  and  Tears. 

Blame  for 
the  Pictures 

Mr.  Speaker. — A  father  blames  the  pictures 
for  his  son’s  stealing.  I  think  boys  used  to 
steal  long  before  there  were  any  kinemas. 

If  ever  I  am  charged  with  bigamy  I  shall 
plead  it  was  through  reading  about  Solomon 
and  his  many  wives,  etc.,  in  the  Bible. — 
Robson  Paige. 

An  Artiste 
in  U.S.A. 

Mr.  Speaker, — My  impressions  of  affairs 
in  general  in  America  are  as  follow : — I 
have  been  interviewed  by  many  Press  re¬ 
presentatives  here,  and  my  first  question 
was  to  ask  the  state  of  the  film  business, 
and  in  every  case  I  was  informed  that  it 
is  improving,  although  many  have  been 
out  of  work  for  months. 

In  this  country,  because  there  is  no  class 
distinction  the  picture  palaces,  etc.,  are 
far  more  elaborate  and  more  patronised 
by  the  public  than  the  ordinary  theatre. 
Every  person  in  the  street  has  his  particu  • 
lar  star  at  some  picture-house  or  another. 
I  strolled  into  the  “'Capitol,”  Broadway,  on 
Friday,  where  the  accommodation  is  5,000. 
and  not  a  seat  vacant,  although  the  picture, 
in  my  opinion,  was  third-rate. 

I  also  called  on  Edward  Small,  where 
I  met  Francis  Bushman.  Small  was  of  the 
opinion  that  picture  production  was  on  the 


increase,  but  he  thought  it  would  be  about 
another  few  months  before  anything  serious 
was  done:  He  also  said  there  were  several 
very  good  directors  right  in  New  York, 
who  were  anxious  to  get  work.  He  thought 
that  to  relieve  British  trade  there  ought 
to  be  a  transformation  of  directors,  artistes, 
etc.,  but  the  difficult  part  was  that  British 
companies  were  so  afraid  to  spend  money — 
hence  the  results  of  'our  own  industry. — 
Bert  Darley. 

Carpentier  on 
the  Film 

Mr.  Speaker, — I  have  received  a  number 
of  inquiries,  as  to  the  effect  of  the  defeat 
of  Georges  Carpentier  at  Paris  on  \his 
future  as  a  film  actor.  I  should  like  to 
say  that  I  engaged  Carpentier  because  I 
believed  in  his  ability  as  a  screen  artiste. 
My  faith  was  fully  justified  in  his  perform¬ 
ance-in  “A  Gipsy  Cavalier,”  and  in  the 
reception  of  his  work  by  the  critics  in  this 
picture.  Consequently,  the  result  of  the 
Paris  fight  on  Sunday  will  not  affect 
Carpentier’s  future  work  for  me.  I  should 
emphasise  here  that  in  the  advertising  and 
publicity  on  the  Carpentier  film,  the  noted 
Frenchman  has  been  featured  as  an  actor, 
and  not  as  a  boxer. 

If  the  result  of  the  Paris  fight  means  that 
Carpentier  will  leave  the  ring  (though  I 
cannot  say  that  it  does),  this  may  prove  a 
blessing  in  disguise;  for  then  this  very  pro¬ 
mising  actor  will  be  able  to  give  all  his 
time  and  thought  to  developing  his  career 
as  the  most  fascinating  male  personality  on 
the  screen.  I  am  looking  forward  with 
great  pleasure  to  my  future  work  with  him. 

Those  who  met  Carpentier  in  London 
realised  that  his  interest  in  boxing  had 
materially  diminished.  Hi.s  high  sense  of 
sportsmanship  remained  the  same,  and  I 
felt  that  he  was  hurt  by  the  criticism  of 
his  knock-out  in  the  fight  with  Lewis, 
though  the  cinematograph  record  of  that 
contest  proved  the  legitimacy  of  the  blow. 
This  sensitiveness  may  have  induced  him 
to  prolong  the  encounter  in  Paris,  in  view 
of  the  reports  stating  that  he  had  the  advan¬ 
tage  during  the  early  stages  of  the  fight. 
It  is  not  unlikely  that  he  was  at  a  great  dis¬ 
advantage  through  a  weak  thumb,  which 
was  broken  in  the  fight  with  Dempsey,  and 
really  was  the  cause  of  his  defeat  at  Jersey 
City.  This  injury  was  sustained  in  the 
second  round  when,  with  a  smashing  blow, 
he  sent  Dempsy  against  the  ropes.  From 
that  point  on,  he  was  suffering  such 
intense  pain  that  he  was  hardly  able  to 
continue  the  fight. — J.  Stuart  Bi.ackton. 

Scenarios 
’  Abroad 

Mr.  Speaker, — I  heartily  second  W. 
Potbecory’-s  suggestion  that  a  list  of  foreign 
producing  firms  and  their  .addresses,  be 
published  in  an  issue  of  The  Motion  Picture 
Studio,  especially  Continental  and  produc¬ 
ing  firms  in  different  parts  of  our  Empire. 
The  Continental  firms  run  by  Continental 
men,  I  have  heard  on  very  good  authority, 
are  most  courteous.  They  not  only  acknow¬ 
ledge  the  receipt  of  the  scenario  by  return, 
but  they  take  every  care  of  it,  and  if  the 
play  is  not  suitable  to  their  requirements, 
they  return  it  at  an  early  date,  giving  the 
scenarist  a  chance  to  place  it  elsewhere, 
which  is  certainly  a  comfort. — Muriel 
Alleyne. 


14 


September  30,  1922 


THE  MOTION  PICTURE  STUDIO 


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Written  and  Produced  by 

ADELQUI  MILLAR 

TRADE  SHOW  to  be  announced  SHORTLY 

Agents : — 

The  Lionel  Phillips  Co.,  29a,  Charing  Cross  Rd.,  W.C.  2 

’ PHONE :  GERRARD  7412. 


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15 


THE  MOTION  PICTURE  STUDIO 


September  30,  1922 


COMPLETE  LIST  OF  ALL  THE  BRITISH  STUDIOS,  TOGETHER 
WITH  ADDRESSES,  TELEPHONE  NUMBERS, 


Alliance  Film  Cd. 

Studio:  St.  Margaret’s,  Twicken¬ 
ham. 

Phone  :  Richmond  1945. 

Route  :  Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s.  Fare  : 
1st,  2s.  01.,  3rd,  Is.  0|d.  ;  R.T., 
1st  3s.  Id.,  3rd  2s.  Id. 

From  Waterloo  :  A.m.,  every 
10  minutes  ;  from  St.  Margaret’s 
every  10  minutes. 

Artistic  Films,  Ltd. 

Address  :  93-95,  Wardour  Street* 

W.  1. 

Phone  :  Gerrard  3210. 

Film  :  “  Dialstone  Lane.” 
Director  :  Manning  Haynes. 
Scenarist  :  Lydia  Hayward. 
Cameraman  :  Frank  Grainger. 
Stage  :  Casting. 

Barkers. 

Address  :  Ealing  Green,  London, 
W.  5. 

Phone:  Ealing  211  and  1582. 
Studio  :  Vacant. 

B  &  C.  Productions. 

Address  :  Hoe  St.,  Walthamstow. 
Piione  :  Walthamstow  364  and  712. 
Route  :  Bus  38.  Tram  81  to 
Bakers’  Arms.  G.E.R.,  liver- 
pool  Street  to  Hoe  Street. 
Fare :  1st  Is.  2d.,  2nd  10jd., 
3rd  7d.  R.T.,  1st  Is.  9d„  2nd 

Is.  4d.,  3rd  101d. 

From  L.S.  :  A.m.  7.58,  then 
everv  few  minutes  until  p.m., 
9.5,  9.20,  9.35,  9.50,  10.5,  10.20, 

10.35,  10.50,  11.5,  11.20,  11.35, 

11.50,  12.5,  12.35  midnight. 

Hoe  Street  to  L.S.  :  A.m.,  7.53, 

8.2,  8.8,  then  every  few  minutes  ; 
p.m.,  8.20,  8.35,  8.50,  9.'6,  9.20, 

9.35,  9.49,  10.6,  10.20,  10.36, 

10.50,  11.6,  11.20,  11.35,  12.2. 
Film  :  Historial  Incidents. 
Director  :  George  Ridgwell. 
Cameraman  :  A.  W.  Kingston 
Type  :  One  reelers. 

Stage  :  One  a  fortnight. 

Baron  Films. 

Address:  95,  St.  Martin’s  Lane, 
W.C.2 

B  itish  Famous  Films. 

Address  :  “  Woodlands,”  High 

Road,  Whetstone. 

Phone:  Finchley  1297. 

Studio  Vacant. 

Br  tish  and  Orient  il. 

Address  :  B.  P.  Studios,  Thornton 
House,  Thornton  Road,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Studio  being  used  by  Quality  Films. 

3riti  h  Fh;to,:lays. 

Address  :  Devon  Chambers,  28, 
Fleet  Street,  Torouay. 

N  Working. 

Brit.  Protections. 

Addrl  :  Selborne  Road,  Hove. 
Film:  Historial  Subjects. 


Director  :  Lieut.  Daring. 
Cameraman  :  A.  Kingston. 

British  Super  Films. 

Address  :  Worton  Hall,  Isleworth. 
Phone  :  Hounslow  212. 

Route  :  Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth. 
Fare  :  1st  Is.  04d.,  3rd  9d.  ; 
R.T.,  1st  Is.  9d.,~  3rd  Is.  6d.  ; 

а. m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 
past  each  hour  until  11.51  p.m. 
Extra  trains,  4.43,  5.13,  5.43, 

б. 13,  6.43,  7.13. 

Isleworth  to  Waterloo  :  8.33, 

8.44,  9.3,  9.14,  9.33,  9.44,  10.14, 

10.44.  Same  minutes  past  every 
hour  until  10.44,  11.14  p.m. 
Extra  trains  5.30,  6.0,  6.30. 

Film  :  “  The  Right  to  Strike.” 
Director  :  Fred  Paul. 

Cameraman  :  Sidney  Blythe. 
Stage  :  Fifth  week. 

Film  :  “  Super  production.” 

Stage  :  Scheduled. 

Daisy  Productions. 

Film:  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson 

Address  :  Lea  Bridge  Road,  E.  10. 
Phone  :  Walthamstow  634. 

Route  :  Bus  Nos.  35  and  38. 


to  Lea  Bridge  Road.  Fares : 
1st  Is.  2d.,  2nd  lOJd.,  3rd  7d. 
R.T.,  1st  Is.  9|d.,  2nd  Is.  4d., 
3rd  10£d.  A.m.,  10.34 ;  p.m., 

1.20,  3.5,  4.37,  6.27,  8.5. 

Lea  Bridge  to  Liverpool  Street : 
P.m.,  1.4,  5.27,  5.54,  6.29,  7.7, 
8.4,  8.57,  10.4. 

Film  :  Not  Announced. 

Director:  Arthur  Rooke. 

Star  :  Henry  Vibart. 

Cameraman  :  Leslie  Eveliegh. 

Stage  :  Third  week. 

Evan-Phillips  Film  Production. 

Address  :  3,  Wardour  Street,  W.L 

Phone  :  Regent  3282. 

F.  P.-Lasky. 

Address  :  Poole  Street,  Islington. 

Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
and  then  tram  No.  11. 

Studio  being  used  by  Grahame 
Cutts. 

Gaumont. 

Studio  :  Lime  Grove,  Shepherd’s 
Bush,  W.  12. 

Phone  :  Hammersmith  2090-1-2. 

Route  :  Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station 

Film  :  “  The  Scient  ist.” 

Director  :  Capt.  Calvert. 

Star  :  Marjorie  Hume,  David  Haw¬ 
thorne,  H.  R.  Hignett  and  Frank 
Dane. 

Cameraman  :  Basil  Emmott. 

Scenarist  :  Alicia  Ramsay. 

Stage  :  Fifth  week. 


Cl  tn  Fi  1m  Productions. 

Address  :  20,  Lisle  Street,  W.C. 
Studio  :  “  Belgrave,”  Marine 

Terrace,  Aberystwyth. 

Not  working. 

Ceorge  mark  Productions. 

Address  :  47,  Berners  Street,  W.  1  • 
Phone  :  Museum  3012. 

Film  •  “  Maid  of  the  Silver  Sea.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Cameraman  :  Hal  Young. 

Stage  :  Fourth  week. 

Grahame  Wilcox  Productions. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  3Sa,  to  North  Road, 
then  tram  No.  11. 

Film  :  “  Paddy  the  Next  Best 

Thing.” 

Director  :  Grahame  Cutts. 

Star  :  Mae  Marsh. 

Cameraman  :  John  Parker. 
Scenarist  :  Elliot  Stannard. 

Stage  :  Second  week. 

Cranger-Binger. 

Address  :  191,  Wardour  St.,  W.  1. 
Phone:  Gerrard  1081  and  1728. 
Studios  :  Haarlem,  Holland. 

Film  :  “  The  Lion’s  Mouse.” 
Director  :  Oscar  Apfel. 

Star  :  Wvndham  Standing. 

Stage  :  Scheduled. 

Grarv.lle  Productions. 

Address  :  Windsor  Studios,  Brom¬ 
ley  Road,  Catford. 

Phone  :  Lee  Green  948. 

Film  :  “  Shifting  Sands.” 
Director  :  Fred  Granville. 
Starring  :  Peggv  Hyland. 
Cameraman  :  Walter  Blakely. 
Type  :  Five  reel  drama. 

Stage  :  Cutting  and  Assembling. 


Film  :  “  Hennessey  of  Moresby.” 
Stage  :  Starting  shortly. 

Hardy. 

Address:  13,  Gerrard  St.,  W.l. 

Harma  Clarendon. 

Address  :  16,  Limes  Road,  Croydon 
Phone  :  Croydon  921  and  2084. 

Not  working. 

Hepwcrth  Picture  Plays. 

Address  :  Walton-on-Thames. 
Phone  :  Walton  16. 

Route  :  From  Waterloo.  Fare  : 
1st  4s.  ll£d.,  3rd  2s.  6d.  ;  R.T., 
1st  7s.,  3rd  4s.  4£d. 

From  Waterloo :  A.m.,  7.0, 

8.0,  9.20,  10.20,  11.20;  p.m., 

12.20,  1.20.  2.20,  3.20,  4.20,  4.54, 
5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  8.20,  8.55,  9.20,  10.20, 
11.34. 

From  Walton  :  A.m.  7.59,  8.29, 
8.41,  8.56,  9.9,  9.46,  10.10,  11.10  , 


Trams  81,  55,  57. 

G.E.R.  from  Liverpool  Street 


6 


September  30,  1922 


THE  MOTION  PICTURE  STUDIO 


FULL  PARTICULARS  OF  CURRENT  PRODUCTIONS,  ROUTES 
AND  FARES  FOR  REACHING  THE  STUDIOS 


p.m.,  12.10,  1.10,  2.10,  3.10,  4.11, 

5.10,  6.44,  6.10.  7.10,  8.10,  9.10, 

10.10,  10.35,  11.34. 

Film  :  “  The  World  of  Wonderful 
Reality.” 

Director  :  Henry  Edwards. 
Cameraman  :  Gaston  Quiribet. 
Stage  :  Nearing  completion. 

Film  :  “  Pipes  of  Pan.” 

Director  :  Cecil  Hep  worth. 

Stage  :  Nearing  completion. 

Ideal. 

Address  :  Boreham  Woods,  Elstree, 
Herts. 

Phone  :  Elstree  52. 

Route  :  Trains  from  St.  Pancras. 
Fare  :  1st  2s.  lid.,  3rd  Is.  9|d.  ; 

R. T.,  double  fare.  A.m.,  7.30, 

S. 0,  8.50,  9.55,  10.45,  11.40; 
p.m.,  12.33,  1.13,  2.35,  3.55,  4.45, 
5.12,  6.2,  6.43,  6.48,  7.15,  8.8, 
9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras : 
9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.7,  3.56,  4.37,  5.29,  6.21,  6.25, 
7.36,  8.49,  10.14,  10.56. 

Studio  Manager  :  F.  A.  Kendrick. 
Art  Director:  J.  T.  Garside. 
Film:  ‘‘Green  Sea  Island.” 
Director  :  Thomas  Bentley. 

Stars  :  Flora  Le  Breton  and  Clive 
Brook  and  Lawford  Davidson. 
Stage  :  Third  week. 


Film  :  “  This  Freedom.”. 
Director:  Dinison  Clift. 
Star:  Fay  Compton. 
Scenarist:  Denison  Clift. 
Stage:  Preparing  Scenario. 


Film  :  •  “  Harbour  Lights.” 
Director  :  Tom  Terriss. 

Star  :  Tom  Moore. 

Cameraman  :  W.  Shenton. 

Stage  :  Third  week. 

International  Artists. 

Address  :  52,  Shaftesbury  Av.W.l. 
Film  :  “  Desert  Sand.” 

Director  :  Bert  Wynne. 

Stars  :  Doris  Eaton,  Walter  Tenny¬ 
son  and  Warwick  Warde. 
Cameraman  :  W.  Howse. 

Stage  :  Assembling. 

Film  :  “  God’s  Prodigal.” 
Director  :  Ed.  Jose. 


Cameraman  :  C.  McDowell. 

Stage  :  Casting. 

Isl 3  of  Man  Films. 

Address  :  The  Manx  Studios, 
Isle  of  Man. 

Not  working. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington. 

Phone  :  Kingston  1617. 

Route  :  From  Waterloo  to  Tedding¬ 
ton.  Fare  :  1st  2s.  7|d.,  3rd 
Is.  4d.  ;  R.T.,  1st  4s.  4|d.,  3rd 
2s.  8d.  From  Waterloo,  a.m., 
7.55.  Then  trains  every  few 
minutes  until  11.55  p.m.  From 
Teddington,  a.m.,  7.51.  Then 

trains  everv  few  minutes  until 
11.1,  11.16,  11.51  p.m.  Bus  27. 

Film  :  “  Sporting  Subjects.” 

Directors  :  H.  B.  Parkinson,  Ed¬ 
win  J.  Collins  and  George  Wynne 
and  Challis  Sanderson 

Cameraman  :  Theo.  Thumwood. 

Type  :  One  reelers. 

Stage  :  Two  a  week. 

Film  :  “  A  Gamble  with  Hearts.” 

Director  :  H.  B.  Parkinson. 

Stars  :  Valia,  Madge  Stuart, 
Milton  Rosmer. 

Camaraman  :  Theodore  Thumwood. 

Stage  :  Third  week. 


Film  :  “  The  Green  Caravan.” 
Director  :  E.  J.  Collins. 

Star  :  Catherine  Calvert. 

Stage  :  Casting. 

Minerva  Films. 

Address  :  110,  Victoria  St.,  S.W.  1. 
Phone  :  Victoria  7545. 

Not  working. 

Pr.gress  Film  Co. 

Address  :  Shoreham-on-Sea. 
Phone  :  Shoreham  19. 

Film  :  “  Rogues  of  the  Turf.” 
Director  :  Wilfred  Noy 
Stage  :  Completed. 


Film  :"  “  Facing  Fearful  Odds.” 
Director  :  Wilfred  Noy. 

Star  :  Mavis  Clare. 
Cameraman  :  Stanley  Mumford. 
Stage  :  Fourth  week. 


Quality  Films. 

Address  :  B.  P.  Studios,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Film  :  One  reelers. 

Director  :  George  A-  Cooper. 
Studio  Manager  :  S.  Folker 
Cameraman  :  R.  Terreaneau. 
Stage  :  One  a  week. 

Faleigh  King  P.oductions. 

Address  :  Watcombe  Hall,  Tor¬ 
quay. 

Studio  :  Vacant. 

Regulus  Films. 

Address  :  48,  Carnaby  Street, 

Regent  Street,  W.l. 

Not  working. 

Se;l  Productions. 

Address:  171,  Wardour  Street. 
Phone  :  Regent  4329. 

Not  working. 

Scr:ertp'ays. 

Address:  Cranmer Court, Clapham 
Phone  :  Brixton  2956. 

Route  :  Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll 

Address  :  Temple  Road,  Crickle- 
wood. 

Phoneu  Willesden  3293. 

Route  :  Bus  No.  16. 

Studio  Manager  :  J.  Grossman 
Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart 
Rome  and  Edith  Bishop. 
Cameraman  :  D.  P.  Cooper. 

Stage  :  Ninth  week. 


Film  :  “  Petticoat  Loose.” 
Director  :  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  Lionelle 
Howard. 

Stage  :  Fourth  week. 


Film  :  “  Top  of  the  World.” 
Director  :  Maurice  Elvey. 
Cameraman  :  Jack  Cox. 
Stage  :  Scheduled. 


J.  Stuart  Blackton. 

Address  :  Bush  House,  Akiwych. 
Phone  :  Central  1935. 

Film  :  Not  Announced. 

Director  :  J.  Stuart  Blackton. 

Torquay  &  Paignton  Photoplays 

Address  :  Public  Hal!,  Paignton 
Not  working. 

Un  on  Films. 

Address  :  Strand  Street,  Liverpool. 
Phone  :  Central  (Liverpool)  325. 
Not  working.  ■ 

Walker  Boyd  Sunshine  Produc¬ 
tions. 

Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Waltsr  West  Productions. 

Address  :  Princes  Studios,  Kew 
Bridge. 

Phone  :  Chiswick  574. 

Route  :  Bus  Nos.  27,  105. 

Broad  Street  to  Kew.  Fare 
1st  Is.  4d.,  3rd  9d.,  RT.,  1st 
2s.  04d.,  3rd  Is.  4d.  A.m.,  8.2, 

8.20,  8.45,  9.0,  9.47,  10.17,  10  47, 

11.17,  11.47  ;  p.m.,  12.17,  12.47, 

1.17,  1.47,  2.17,  2.47,  3.17,  3.47, 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40, 
6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 
8.47,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street : 
A.m.,  9.40,  10.8,  10.38,  11.8, 
11.38;  p.m.,  12.8,  12.38,  1.8, 

1.38,  2.8,  2.38,  3.8,  3.38,  4.8,  1.3S, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.2“, 

6.38,  7.8,  7.38,  8.8,  8.38,  9.8,  9.38. 
Film:  “The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Violet  Hopson,  Florence 
Turner  and  James  Knight. 

Stage  :  Second  week. 

Welsh  Pearson. 

Address:  41-45,  Craven  Park. 

Harlesden,  N.W.  10. 

Phone  :  Willesden  2862. 

Route:  Bus  No.  18. 

Film:  “  The  Romany.” 

Star  :  Victor  McLaglen. 

Director  :  Martin  Thornton 
Cameraman  :  Percy  Strong. 

Stage  :  Seventh  week 


Recifif *sbs  Qual  i  ty  &  Servi  c  e  WA|ggiV  sr 

100%  FILM  100? 

AMFcoiouMon  Developers& Printers  L°wROM- 


17 


THE  MOTION  PICTURE  STUDIO 


EXHIBITORS — WISE  AND 

OTHERWISE 

Now,  what  makes  the  difference?  I  go  to  a  town  and  find  three 
kinemas.  And  yet  only  one  counts.  The  other  two  are  less  than 
“  also  rans.” 

What  makes  the  difference  ? 

They  have  all  got  expert  orchestras,  smart  staffs,  good  programs. 
The  town  is  big  enough  for  three,  and  yet  seventy-five  per  cent,  of  the 
local  kine-goers  queue  up  at  one  kinema  only  ;  the  other  two  live  on 
hope. 

What  makes  the  difference  ? 

If  you  ask  me  for  my  opinion  I’ll  give  it.  I  am  convinced  from  a 
keen  study  of  the  exhibitorial  end  of  the  business,  that  everything 
depends  on  the  man  at  the  wheel.  Is  the  exhibitor  progressive  or  is 
he  not — that  makes  the  difference  ? 

The  progressive  exhibitor  among  other  things  studies  the  future  as 
well  as  the  present — he  observes  the  trend  of  events  and  anticipates 
them.  He  is  always  ahead  of  the  band — that  makes  the  difference. 

A  case  in  point  .  There  are  exactly  327  exhibitors  in  this  country 
who  are  live  enough  to  the  trend  of  events  to  see  that  in  the  near  future 
the  release-date  period  will  be  considerably  shortened,  and  before  long 
films  will  walk  straight  out  of  the  studio  into  the  kinema  theatres. 
They  have  construed  this  to  mean — and  rightly  so — that  soon  British 
films  will  no  sooner  be  cut  and  edited  before  they  are  being  shown  to 
the  public.  So  they  argue — -these  327  exhibitors — that  the  more  they 
know  about  the  British  producing  world  the  better  equipped  they  are 
for  their  jobs — they  study  the  source  of  supply  and  by  this  means 
obtain  a  great  number  of  good  red-hot  news  stories  which  they  file  for 
publicity  purposes,  and  also  obtain  a  right  appreciation  of  the  value 
and  quality  of  the  films  by  the  time  and  energy  spent  on  them  in  the 
studio. 

These  327  exhibitors  are  subscribers  to  Motion  Picture  Studio  ; 
the  only  journal  solely  devoted  to  the  British  film  producing  industry. 

That  makes  all  the  difference  in  the  world  between  exhibitors  wise 
and  otherwise. — Film  Traveller. 


3-e  Rising  Sun  Productions,  Ltd. 

Just  completed  first  two  productions: 

A  untie’s  Wedding  Presen  ts 


and 


(  i 


Eliza  s  Romeo  ’ ’ 


both  featuring 

LOUIE  FREEAR 

( Scenarios  by  Susan  Schofield). 

U.K.  Rights  Controlled  by  REVUE  FILM  CO. 


Shortly  commencing  on  Super-Production 

entitled 

“THE  RAG  PICKER” 

A  human  drama  by  Susan  Schofield, 
which  will  shortly  be  published  as  a  story. 

The  Rising  Sun  Productions,  Ltd. 


September  30,  1922 


SUBSCRIPTION 
ORDER  FORM. 

To  The  Manager, 

'‘MOTION  PICTURE  STUDIO,” 
93,  Long  Acre,  London  W.C.2. 


SUBSCRIPTION 
RATES : 

3  months  2/6 
6  months  5/- 
12  months  10/- 

fiost  free- 


Exhibitors  who  are  subscribers  to  the  Kine. 
can  get  a  combined  reduced  subscription . 

Please  send  me  a  copy  of  the  “Motion 

Picture  Studio’’  weekly  for . months 

from  issue  of . 'or  which  I 

enclose  remittance. 

Name 


Address  (to  where  copies  are  to  be  sent)  : — 


Date 


Fred  Groves 


MALE  LEAD 


IN 


<< 


The  Crimson  Circle 


iiimitniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiimiiiim 

Just  concluded,  ‘*P.C.  Lee  ’  in  “  Squibs 
Wins  The  Calcutta  Sweep,”  for  Welsh 

Pearson. 

Late  London,  All  rnnee,  B.  &  C.,  Ideal, 
British  Actors,  Welsh-Pearson,  etc.,  etc. 

iiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiimiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 

KINEMA  CLUB  or  PADDINGTON  4988. 


18 


FILM  COMEANTY 

present:  j 


c5if’VdUeycfcl6nioil'ow 


WII&IAM  RUSSEtt, 


'.OSM  PI IM  COMPANY 
L89-91  Wardour  St.  London.Wi. 


DisscxESby  SMMsra  x  vxym 

A  stupendous  sio ly  ol 

IxiU^ed  men  aiidhrct^e 
•^oin£n  Tfthose  code  of  life 
tx?as  summed  up  in  the. 
pla&se  !4n  eye  fox’  an' 


William  Russell,  in  a  full-blooded  drama  dealing  with  his  revenge 
on  the  man  who  ruined  his  sister,  proves  most  excellent  entertain¬ 
ment,  particularly  as  it  is  handled  in  a  much  more  original  way 
and  leads  well  up  to  its  climaxes. 

Points  of  Appeal.— This  story  is  excellently  told  and  has  good 
dramatic  value,  which  will  appeal  to  all  audiences. 

Production. — Generally,  when  one  sees  a  film  dealing  with  a  man’s 
revenge  for  some  injury,  it  is  only  too  easy  to  foretell  that  it  will 
come  to  nothing  and  that  vengeance  will  not  be  achieved.  In  this 
case  the  plot  is  so  well  handled  that  this  is  not  obvious,  and  the 
way  the  man  meets  his  death  is  both  dramatic  and  convincing,  with¬ 
out  allowing  the  hero  to  lose  sympathy  by  committing  deliberate 
murder. 

(Kine.  Weekly,  September  21,  1922.) 


p 


I  hr  above  is  a  reproduction  of  an  original  carica  'ure  of  George  Ridgwcll, 
specially  drawn  by  Rex  Ingram,  Ike  director  of  ike  famous  film,  “  The  Four 
Horsemen  of  the  Apocalypse." 

GEORGE  RIDGWELL 

(CHAIRMAN  OF  THE  KINEMA  CLU3.) 

DIRECTOR:  “THE  CRIMSON  CIRCLE” 

During  the  pas!  three  )  ears  has  directed 

SWORD  OF  DAMOCLES  " — GAMBLE  IN  LIVES  "—“FOUR  JUST  MEN  GREATHEART  , 
"AMAZING  PARTNERSHIP’— THE  KNIGHT  ERRANT  "—“THE  POINTING  FINGER  '< 
“THE  CRIMSON  CIRCLE  The  Second  Series  of  SHERLOCK  HOLMES  EPISODES.’, 

NOW  DIRECTING  HISTORICAL  FILMS  FOR  B.  &  C. 


Printed  and  Published  by  ODHAMS  PRESS  Ltd.,  Long  Acre,  W.C.2.— September  30,  1922. 


WALTER  TENNYSON. 


DORIS  EATON  AND  WARWICK  WARD. 

A  Bert  Wvnne  Production 


Entitled— 

“  THE . 

CALL  £  EAST  ’  ’ 

Featuring  Doris  Eaton,  Walter 
Tennyson  and  Warwick  Ward 

Trade  Show,  Shaftesb  ury  Pavilion 

TUESDAY,  OCTOBER  24.  at  11  a.m. 


All  corns BERT  WYNNE,  International  Artistes, 
52,  SHAFTESBURY  AVENUE,  W.l.  Gerrard  6338-9 


I 


THE  MOTION  PICTURE  STUDIO 


October  14,  1922 


ARTISTES 


ATHALIE  DAVIS 

Juvenile  Leads, 
Comedy  &  Emotional  Parts. 

DISENGAGED. 

Latest  Film  : 

“Hims  Ancient  and  Modern.” 
Corns.  :  70,  Goldhurst  Ter¬ 
race,  Hampstead,  N.W.6. 
’Phone  :  Hampstead  866. 


NOEL  GRAHAME 

Heavy  Character  &  Comedy. 
Heavy  lead  :  “Bladys  of  the 
Stewponey,"  “Cost  of  a  Kiss,” 
“  Britain’s  Naval  Secret,"  etc. 
12,  Glebe  Place, 

Chelsea,  S.W.3, 
and  Kinema  Club. 
’Phone:  Regent  2131. 
Photo  by  X avnu a 


FRED  WRIGHT. 

The  Crazy  Hunchback 
in  the  colour  film 
‘The  Glorious  Adventure,” 
Covent  Garden  Theatre. 
THE  COPSE, 

WEST  DRAYTON 
’Phone.-  Yiewsley  82,  or 
Kinema  Club. 


EVELYN  BRENT 

Latest  Productions, 

“  Demos,”  “  Sonia,” 

“  Laughter  and  Tears,”  etc. 
At  present,  Famous  P.-L. 

Bus.  Corns.,  Sidney  Jay, 
Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av.,  W. 1 
Regent  4329. 


GORDON  HOPK1RK 

Leads-Ideal:  ‘Sybil,’  ‘Ernest 
IVlaltravers  ’  Direct:  ‘Four 
MeninaVan.’  Masters  :‘Fra 
Diavolo,’"  Bride  of  Lammer- 
moor,’  ‘Faust,’  ‘  Mari  tana,’ 
‘Jane  Shore.’  ‘  Stella  ’: 
P.  &  B.  *  Settled  in  Full.’ 
B.&C  :  ‘The  Queen's  Secret.’ 
Artistic:  ‘The  Skipper’s 

Wooing  ’  Address: 

School  House,  Tower  Street, 
W  C  2  or  Kinema  Club. 


MARY  ODETTE 

Just  concluded  :  “  The  Faith- 
lul  Heart’  and  “ Windows  ” 
(Comedy  Theatre) 
■Latest  Releases  : 

“Wonderful  Year.’ 

“All  Roads  Lead  to  Calvary.’’ 
All  corns.  ;  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  ,Av.,  W. 1 
Reeent  4  329. 


GORDON  BEGG 

Dramatic  —  Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.  11, 

Telephone  :  Battersea  21. 


WARREN 

HASTINGS 

5,  POND  PLACE. 
CHELSEA 
S.W.3. 


ROS I N A 
WRIGHT, 

Famous- Lasky,  Stoll,  Lon¬ 
don.  Samuelson,  Davidson, 
Ideal,  Broadwest,  etc. 

7  years  Film  Experience. 

8a,  GOLDERS  WAY, 
GOLDERS  GREEN, N.W  11 
or  Kinema  Club. 


F.  C  R  E  M  L  I  N  . 

5  Mcntem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Clu), 


ARTISTES 


FLORENCE  INGRAM 

90a,  LEXHAM  GARDENS, 
KENSINGTON,  W.8 
West  4519. 

British  Super  Productions, 
Davidson  ;  Beacon  Films, 
Daisy  Productions,  “  Mrs. 
Stanton”  second  lead  in 
“  Gypsy  Blood.” 


GEORGE  KEENE  I 


Star  Lead.  Disengaged. 
Featuring—  “  Black  Sheep,” 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters,” 

“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 
Address : 

121b,  Church-  St.,  Croydon 
’Phone :  C  rovdon  835. 


DAISY  BURRELL 

Just  finished  playing  lead  in 
‘  ‘  Cinderella  ’’  panto. 

Last  Film  :  Star  part  in 
“  Pride  of  the  Fancy.  ’ 

OPEN  TO  OFFERS. 
39,  Avonmiye  Road, 

West  Kensington. 
’Phone  :  Western  675. 


ALEC.  ALEXANDER 

Juvenile  Artiste.  Jnr. 

OFFERS  WANTED 
All  corns.:  163,  Hackney 
Road,  E.2 

'Phone  :  Dalston  2583. 
or  KINEMA  CLUB, 
Regent  2131. 


LILIAN 

HALL  DAVIS. 

JUVENILE  LEADS. 
Samuelson,  Ideal,  Gra¬ 
ham  Wilcox,  etc.,  etc. 
All  corns. : 

Worton  Hall, 
Isleworth,  Middlesex 


THELMA 
MURRAY 

Character  &  Emotional  parts 
Just  finished  work  in  “Crea¬ 
tion”  for  Raleigh  King  Films, 
now  playing  lead  for  Masters 
All  corns  :  “LYNDALE  ” 
OAKLEY  RD.  ' 
WHYTELEAFE,  SURREY, 
or  to  the  Kinema  Club. 


MARGARET 

HOPE, 

Character  &  Juvenile  Leads. 

Late  Ideal,  Masters,  Stolls, 
etc.,  etc. 

42,  Blandford  Square, 
Marylebone,  N.W.l. 
Phone  :  Padd.  7m. 


DOUGLAS  WEBSTER 

Juvenile  Character  Leads. 
Stage  Experience. 

Just  completed  “Leroy 
Lindsay”  in  “Shifting  Sands'’ 
(Granville  Productions). 
All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av. 
’Phone  :  Regent  4329. 


ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 

Character  Parts,  “  Mrs.  Gatty,”  in  “Christie 
Johnstone  ’’  (Broadwest),  “  Margaret  Howe’’ 
in  “  Beside  the  Bonny  Brier  Bush  ”  (Lasky) 

55.  Campden  St.,  Kensington,  W.8. 

Tel.  :  Park  3623. 


SYBIL  JAMES 

Juvenile  and  Character  Parts 
_ C/o  MOTION  PICTURE  STUDIO 


ARTISTES 


HUGH  MILLER 


6,  MILLMAN  ST. 
W.C.l. 


Te’ephone  : 
Gerrard  4432 


THIS  SPACE  TO  LET 
£2  10  0  for  13  insertions 


ARTHUR  PUSEY 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagcon”  for  I.V.T.A 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 


ROBSON  PAIGE 

Character  Actor. 

INVITES  OFFER.  Plus  or  minus  all  or  any 
portion  of  Nature’s  Beard  or  Moustache. 
Stoll,  Blackton,  Alliance,  Fox,  The  Windsor, 
Gaumont,  Samuelson,  Davidson,  Idea',  Holmfirth 
LONG  AND  VARIED  STAGE  EXPERIENCE. 
Address  :  See  “  Who’s  Where.” 


HETTY  CHAPMAN 

Ch  racter  and  Comedy. 

18,  WYMERING  MANSIONS, 

MAIDA  VALE,  W. 


MARIE  AULT, 

Character  and  Comedy. 

235,  King's  Road,  Chelsea. 


R.  LUCITA  SQUIER, 

Scenarios  and  Originals.  Five  years  with  Marshal 
Neilon  Productions  “PENROD.” 

Address  :  44,  Great  Russell  Street,  London,  W.C.2. 


MILTON  ROSMER 

INVITES  OFFERS. 

16,  Weymouth  Street,  W.i.  'Phone  :  Langham  2243 


THIS  SPACE  TO  LET 
£2  10  0  for  13  insertions 


CAMERAMEN.  .  .  . 

ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN— 

:  SCIENTIFIC  OUTFIT.  : 
Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  ctreet,  W.C.2. 

’Phone — Regent  2131. 

L.  G.  E  G  ROT 

EXPERT  CAMERAMAN. 

“  The  Better  ’Ole,”  etc.,  etc . 

. “  The  Wonderful  Story.  ’’ 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W. 2. 

’Phone  :  Streatham  3085. 


THIS  SPACE  TO  LET 
17s.  6d.  for  13  insertions 


October  14,  1922 


THE  MOTION  PICTURE  STUD.O 


IOHN  SALTER 


Established 
1896. 

CAMERAS.  PROJECTORS, 

LOCAL  TO  PICA  LS, 

13,  Featherstone  Buildings,  Holborn,  W.C.i. 
’Phene — Chancery  740  8. 


COSTUMIER.  .  . 

Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W, 

’Phone;  GerrarJ  612. 


THIS  SPACE  TO  LET 
£ 2  10  0  for  13  insertions 


To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
- SUPPLIED - 

From  your  own  Photo,  in  best  glossy  style  :  — 

One  position  17/6  per  gross. 

Two  positions  30/-  ,, 

Apply— 

PICTURES,  LTD.,  88,  Long  Acre,  W.C.2. 


LEICHNERS 

WORLD 
RENOWNED 


George  K.  Arthur 
says : — 

“  You  can’t  beat  it.’ 


Obtainable  from  all  Chemists 
and  Theatrical  Costumiers 


TElNT 

A?5  I£  any  difficulty  in  obt  ining 
same  apply  direct  to 

Sole  British  Agents : 

VANITIES  LTD., 
15a,  Whitcomb  St. 


(Off  Leicester  Sq.), 


W.C.2 


GREASE 
PAINTS 

&  POWDERS 


WHO’S  WHERE. 


Several  directors  have  explained  to  us 
the  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suooesled  that  we  publish  addresses  and 
telephone  numbers  of  such. 


“  rpHE  most  useful  column,  to  my  mind, 
end  one  which  I  would  like  to  sea 
extended  to  embraca  all  artistes,  it  ‘Who's 
Wh  sre.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.  ’  ’ — 
CHALLIS  N.  SANDERSON. 

“  T  PERSONALLY  would  like  to  sea 
more  artistes  using  vour  snace  under 
the  heading  of  ‘Who’s  Where.’  ”  — 

H.  B.  PARKINSON. 
“  'T’HE  column  which  is  of  most  service 
to  us,  and  which,  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  ”  — 
NORMAN  WALKER  (Capt.),  Alliance  Films. 


ATWOOD,  ALBAN :  25,  Stanley  Crescent, 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S  W.  1 1 .  Battersea  2 1 . 

BROOK,  CLIVE  :  12,  Abarcorn  Place  N  W. 
Ham  pstead  3U83 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS  :  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

CAREW,  JAMES,  15  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3504 

CHESNEY,  ELIZABETH:  c'o  Miss  Morris, 
25,  Clevedon  Gardens,  W.2  (Fat  4l. 
Padd.  5844. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
Redcliffe  Gardens,  S;W.10.  ’Phone: 
Ke.  s’ngton  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.i  1.  Park  2077. 

ESMOND,  ANNIE :  43,  Richmond  Road, 
Westbourne  Grove,  W.2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

FANE,  DOROTHY :  12A,  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 

GREGORY,  FRANK.  Character,  107,  St. 
Alban's  Avenue,  W.4. 

HALLIDAY,  LENA,  14,  Fernwood  Avenue, 
Streatham,  S.W. 

HARRIS,  GEORGE,  22,  Bernard  Street, 
Russe  1  Square,  W.C.I.  Museum  3880. 

HASTINGS,  WARREN,  5)  Pond  Place, 
Chelsea,  S.W. 3.  Western  7160. 

HOWARD,  LIONELLE:  108,  Alderbrook 
Ro  id  Ba  ham,  S  W.I  2. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9.  Gt.  Newport  St.,  W.2.  Reg.  2131. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W. 5.  Western  1936 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  S’,,  W.C.  Museum  7977 


NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

PAXTON,  SYDNEY  :  28,  Be.lforJ  P.ace, 
Russe  1  Square,  W.  C. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell,  S.E.5. 

RAYNER,  MINNIE  :  Kingwater  Cottage, 
Churc.i  Walk,  Thames  Ditton. 

ROME,  STEWART  :  10,  Chisholme  Road, 
Richmond.  Surrey, 

SEARLE  DONALD:  3  2.  Lauderdale  Mans., 
Maida  Vale.  Maida  Vale  2177. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres^ 
cent.  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  62,  Upper 
Richmond  Road,  East  Putney,  S.W.  15, 
or  Kinema  Club. 

STEERMAN  A.  HARDING:  56  Portland 
Road,  W.i  1.  Park  2529. 

STERROLL,  GERTRUDE  :  14.  Queen’s 

Road.  St.  John’s  Wood,  N.W. 8 

TEMPLETON,  BEATRIX:  20,  Foxgl  ve 
St-eet,  Wormholt  Estate,  W.12. 

THATCHER,  GEORGE:  33,  Denbigh 
Stre.  t,  Be'grave  Road,  S.W.  Victoria 
2060. 

TREE,  MADGE:  15,  Lancaster  Court,  New- 
man  St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Road 
Barnes,  S.W.  13.  Putney  1945. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 
2131. 

WALCOTT,  ARTHUR:  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  2131. 

Two  lines ,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a  year,  prepaid. 

Extra  lines ,  is.  per  insertion. 

SCENARISTS  *  .  .  . 

GERALD  DE  BEAUREPAIRE, 

Editing.  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 

G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M'LORD  OF  THE  WHITE  ROAD.” 

Address  : 

41,  Glasshouse  Street,  W.I, 

’Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  2131. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 
NOW  BACK  IN  LONDON. 


3 


THE  MOTION  PICTURE  STUDIO 


October  14,  1922 


GEORGE  HUMPHRIES,  OQ  fj  Windmill  W  1 

TITLE  CARDS.  INSERTS.  ILLUSTRATED  TITLES  OJ,  UU  If  1IIU1111II  Ul.  If.  I 

TELEPHONE  No.  UNCHANGED— REGENT  2592. 

Will  customers  kindly  note  I  have  removed  from  128, 
Jermyn  Street,  to  above. 

F.  L.  GRANVILLE,  Esq.  (who  has  just  completed  “SHIFTING  SANDS”  Starring 
Miss  PEGGY  HYLAND),  remarked  after  testing  my  Sub-title  Cards  . 

,l  I  consider  the  Humphries  method  of  producing  Sub-title  Cards  far  ahead  of  anything  I 
have  ever  seen  in  the  United  States.  ’ 


The  following  well-known  PRODUCERS  are 
among  the  Many  using  my  Sub-title  Cards  :  — 

George  A.  Cooper  (Quality  Film  Plays), 
Kenelm  Foss, 

Manning  Haynes  (W.  W.  Jacobs  Series), 
Adelqui  Millar, 

Challis  N.  Sanderson,  Walter  West. 


RENTERS  : — 

Associated  First  National  (Man — Woman 
— Marriage)  (The  Four  Seasons), 

Messrs.  Gaumont, 

,,  Nordisk  Film  Co., 

,,  Pathe  Freres, 

,,  Walturdaw  Co. 


HAVE  YO 17  SEEN  MY  SPECIAL  WHITE  ON  BLACK  SUB-TITLE  CARDS  ? 

( Prov.  Pat.) 

SUB-TITLE  CARDS  =  INSERT  S  ART  TITLES. 


GEORGE  HUMPHRIES 

4 


CAREFUL  ==S  PEED  Y  =  INEXPENSIVE. 


MAURICE  P.  THOMSON 


•THE  FIFTH  FORM  AT  ST.  DOMINIC’S "  (Dividson — A. E.  Coleby) 
‘  THE  PEACEMAKER"  (Stoll -A.  E.  Coleby) 

“LONG  ODDS "  (Stoll— A.  E.  Coleby) 

“THE  PRODIGAL  SON  (Stoll- A.  E.  Coleby) 

FORTHCOMING  RELEASES: 

"FROGGY'S  LITTLE  BROTHER" 


(Stoll — A.  E .  Coleby) 

“  D  lily  Mail'’  “One  of  the  greatest  child  actors  the  screen 

has  yet  found," 


“A  SOUL’S  AWAKENING” 


( Gaumont — W".  P.  Kellino) 

“  Cinema  “  ‘'MAURICE  THOMSON  as  Jim  is 

undoubtedly  a  boy  actor  who,  in  these  particular 
roles,  has  no  equal  -  either  here  or  in  America." 

Alt  Communicat ions  . — 

45,  CAVENDISH  BUILDINGS, 
CLERKENWELL  ROAD,  HOLBORN,  E.C.l. 


4 


October  14.  1922. 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93,  Long  Acre, 
London,  W.C.2, 


Vol.  2  No.  71 


Telegrams— 
Southernwood, 
Rand,  London. 
Telephone — 
Gerrard  9870. 


Oct.  14,  1922 


Selfless  Efforts. 

THERE  is  no  better  barometer  of  the 
film  industry  than  the  Kmema 
Club.  The  varying  movements  of  the 
former  are  immediately  reflected  in  No.  9, 
Gt.  Newport  Street.  And  at  the  moment 
there  is  a  steady  upward  movement  being 
recorded  at  the  Club,  which  means  that 
there  is  also  improvement  in  the  whole 
industry.  This  advance  at  the  Club  is  in 
a  large  measure  due  to  the  selfless  efforts 
of  an  enthusiastic  band  of  workers  whose 
labours  in  the  various  departments  of 
Club  activities  are  at  once  a  credit  and  an 
example  to  the  whole  industry.  No  one 
is  foolish  enough  to  wish  to  pretend  that 
the  Club  organisation  is  perfect  or  desire 
to  avoid  facing  any  ugly  truths  that  may 
have  to  be  reckoned  with  ;  but,  on  the 
other  hand,  no  one  is  foolish  enough  to 
expect  any  trade  organisation  to  be  flaw¬ 
less. 

*  *  * 


More  Americanisation. 

'T’HERE  is  no  sense  in  being  fatuously 
patriotic  with  narrow  and  parochial 
ideas  ;  and  in  the  past  this  journal,  while 
standing  alone  as  solely  devoted  to  British 
films,  has  never  tried  to  triumph  by  kicking 
the  opponent  s  films.  We  do  not  agree 
with  the  policy  of  decrying  American  films 
simply  because  they  are  American.  The 
only  way  for  British  films  to  beat  the 
Americans  is  by  superior  merit.  But  now 
we  have  occasion  to  draw  attention  to  two 
phases  of  the  American  invasion  that 

should  not  be  tolerated  by  this  country. 

The  first — the  Talmadge  publicity  stunt 
— we  deal  with  elsewhere.  The  other  is  a 
matter  of  real  national  importance  and 
centres  on  an  American  film,  When 

Knighthood  Was  In  Flower,”  which  is 
being  shown  at  the  Scala  Theatre  in 
London. 

*  *  * 


Grotesque  Caricatures. 

ITIRST  of  all,  this  is  a  film  that  ought 
A  never  to  have  been  made  in 
America  ;  stories  of  Britain’s  histone  past 
should  be  the  speciality  of  British  studios. 
This  is  proved  by  the  film,  which  is  the 
American  idea  of  British  loyalty.  From 
first  to  last  it  is  a  hideously  grotesque 
caricature  — an  unintentional  burlesque, 
which  only  provokes  amusement  at  the 
abject  ignorance  of  British  life  and  customs 
exhibited  by  the  Americans.  We  are 
shown  a  King  of  England  doing  a  new  kind 
of  fox-trot  in  his  Court  with  a  Lady-in- 
Waiting  and  in  the  presence  of  his  Queen, 
all  his  Courtiers,  the  Ambassadors  and 
Ministers.  We  are  shown  the  King’s 


sister  bare-backed  and  bare-armed,  sitting 
up  in  bed  waving  a  bare  leg  at  the  King  and 
his  Courtiers.  We  are  shown  the  King  as 
a  clown.  We  are  shown  the  King’s 
sisters  doing  musical  comedy  stuff  in  a 
public-house  bar.  All  this  and  much  more 

in  the  name  of  history  ! 

*  *  * 

Insult  and  Injury. 

Y^/HEN  Knighthood  Was  In  Flower” 
is  the  biggest  insult  the  Ameri¬ 
can  film  industry  could  offer  this  country — 
an  insult  to  our  national  intelligence.  And 
to  help  get  it  over  on  the  British  public  its 
sponsors  announced  that  the  first  week’s 
takings  at  the  Scala  would  be  handed  over 
to  the  Hospital  Fund.  So  the  subtle  anti- 
Bntish  propaganda  was  cloaked  with 
hypocritical  chanty.  That  is  not  all.  This 


>0  0-00 


Some  weeks  ago  we  conceived 
it  our  duty  to  criticise  the  ad- 
ministration  of  the  Club,  and  this 
displeased  the  Executive  Council 
who  inferred  that  as  members  of 
the  Council  we  should  not  do  this. 
In  order  to  leave  our  hands  free  . 
to  help  the  Club  in  whatever  way 
we  think  best  we  resigned  from 
the  Council.  Since  writing  the 
references  to  the  Club  found  in 
another  column,  we  have  been 
notified  that  the  Council  has 
resolved  that  the  MOTION 
PICTURE  STUDIO  is  no  longer 
the  Official  Organ  of  the  Club- 


film  got  the  worst  Press  possible  for  it  to 
get.  But  the  American  system  of  pub¬ 
licity  knows  no  scruples.  A  large  adver¬ 
tisement  appeared  in  the  Evening  News 
which  purported  to  give  “  What  the 
critics  say  about  a  wonderful  film.”  We 
give  two  of  these  quotations  to  prove  the 
lack  of  morals  that  Americans  can  be 
guilty  of  and  the  deliberate  distortion  in 

which  they  can  indulge. 

*  *  * 

Deliberate  Distortion. 

A  N  extract  from  the  Referee  is  given 
thusly :  —  “I  wonder  if  Mr. 
Belloc  has  yet  visited  the  New  Scala,  and 
if  he  has,  what  was  his  opinion  of  the 
chapter  of  ‘  English  History  ’  which  is 
unfolded  upon  the  silver  sheet  of  that  very 
beautiful  playhouse  ?  If  he  has  already 
been  he  probably  behaved  just  as  I  did  ; 
if  his  visit  is  still  to  come,  he  will  even 
more  probably  follow  along  the  path  I 
traced.”  But  this  is  really  a  distortion  of 
the  critic’s  statement.  In  saying  that  Mr. 


Belloc  would  have  acted  as  he  acted  the 
critic  continued,  ”  I  seethed  with  indigna¬ 
tion,”  until  he  concluded  that  the  film  was 
the  greatest  joke  ever,  after  which  he 
‘  chuckled  with  delight  at  the  antics  of  a 
very  modern  girl  of  musical  comedy  type 
masquerading  as  a  Tudor  maiden — and  a 
Princess  Royal  to  boot — poking  a  portly 
fancy-costumed  figure  in  the  ribs,  duelling 
in  a  pot-house,  chucking  (this  is  the  correct 
word  for  the  movement)  rolls  of  velvet  at 
the  head  of  her  Queen  sister-in-law, 
gnawing  the  leg  of  a  chicken  well  dipped 
in  gravy,  sticking  a  shapely  leg  from  out 
of  her  bed-clothes  ...  in  short,  behaving 
as  all  the  bad  girls  of  all  the  families  rolled 
into  one.” 

*  *  * 

What  the  Critics  Said. 

THEN  that  capable  critic,  E.  A. 

Baughan,  of  the  Sunday  Chronicle 
lS  quoted  as  saying  : — ”  ‘  When  Knight¬ 
hood  Was  In  Flower  ’  is  really  closer  to 
history  than  any  of  Shakespeare’s  plays, 
or,  to  take  modern  instances,  than  Wills’s 
1  Charles  I.’  and  Drmkwater’s  *  Mary 
Stuart,’  ”  but  carefully  omitted  the  words 
that  immediately  followed,  which  were  : 
”  yet  it  is  infinitely  falser  to  history.”  The 
Sunday  Pictorial  says  that  “it  is  like  a 
vulgarised  chapter  from  a  Comic  History 
of  England.”  The  Daily  Mail  speaks  of 
it  as  “  a  confused  mixture  of  tomfoolery 

and  syncopated  history.” 

*  *  * 


An  Unpatriotic  Government. 

/^\UR  point  in  thus  dwelling  on  tl  is 
^  film  is  to  register  a  strong  protest 
against  such  grotesque  caricatures  of 
British  history  being  allowed  into  the 
country,  while  the  British  industry,  which 
could  turn  out  genuine  histone  films,  is 
boycotted  by  the  Government  and  by  the 
financial  world.  This  particular  film  is 
taken  very  seriously  in  America.  “  The 
Germans,”  says  the  American  Morning 
Telegraph,  “who  have  boasted  of  giving  us 
the  most  artistic  historical  dramas  on  the 
screen,  can  no  longer  keep  that  boast 
...  it  (the  film)  is  both  entertaining  and 
educating.”  That  is  the  sinister  aspect. 
The  Americans  are  out  to  ”  educate  the 
world  in  the  American  version  of  the 
Plistory  of  England.  It  seeks  to  prove 
that  this  country  is  not  capable  of  filming 
its  own  history.  It  is  an  evidence  of  the 
fact  that  the  Americans  are  out  to  Ameri¬ 
canise  the  world  with  their  films.  Mean¬ 
while  no  help  or  encouragement  is  given 
the  British  film  industry  either  by  the  Stale 
or  the  Stock  Exchange  to  counteract  this 
baneful  influence. 


5 


THE  MOTION  PICTURE  STUDIO 


October  14,  1922 


NORMA  TALMADGE  PROTEGEES 


Huge  American  Publicity  Stunt  that  Harms  the  British  Industry. 


COME  few  months  .ago  Mary  Pickford  and 
^  Douglas  Fairbanks  came  over  here  and 
worked  a  huge  publicity  stunt  in  such  an 
indelicate  manner  that  the  whole  of  Fleet 
Street  has  been  somewhat  antagonistic  to 
American  film  stars’  visits  ever  since.  But 
now  the  Daily  Sketch  has  tied  up  with 
Norma  Talmadge’s  Press  agent  on  a  pub- 
city  stunt. 

Either  Miss  Talmadge,  her  Press  agent  or 
the  Daily  Sketch  has  started  a  competition 
the  object  of  which  is  to  find  “a  real  British 
screen  star.”  The  inference,  of  course,  is 
that  this  country  has  no  real  screen  stars — 
whether  this  is  so  or  not  we  do  not  need 
an  American  to  come  over  here  to  teach  us 
how  to  find  stars.  Nor  do  we  like  the 
American  stunt  way  of  finding  stars,  which 
is  to  run  an  open  competition  especially 
directed  by  its  phraseology  to  the  factory 
girls,  shop  assistants  and  typists  of  this 
country,  inviting  them  to  aspire  to  screen¬ 
acting,  and  promising  them  that  one  of  their 
number  would  be  selected  as  ‘‘the  British 
Screen  Queen.” 

This  (more  or  less)  fortunate  young  lady 
will  leave  her  bench  at  the  workshop  and 
have  £ 200,000  spent  on  her.  At  least,  that 
is  the  argument  with  which  the  Talmadge 
stuntists  entice  otherwise  sensible  girls  to 
enter  a  world  for  which  they  are  not  fitted 
either  by  training,  birth  or  breeding.  And 
this  “Screen  Queen  ”  will  be  taken  to  Paris 
and  rigged  out  in  the  most  costly  gowns 
going — “utterly  regardless.” 

Then  she  will  be  brought  back  to  England 
and  star  in  a  series  of  British  films  .  .  .  ? 

Oh,  dear  no  !  Nothing  of  the  Kind.  This 
“British  Screen  Queen  ”  is  to  make  no 
British  films,  but  be  taken  back  to  America 
to  work  in  the  Talmadge  studio  ! 

That  is  how  “  British  ”  stars  are  discovered 
by  Americans. 

Let  us  see  how  the  stunt  has  worked. 
According  to  the  Daily  Sketch — '(and  we 
believe  it) — thousands  of  would-be  screen 
stars  have  sent  in  their  photographs.  In 
the  majority  of  cases  they  come  from  mem¬ 
bers  of  the  working  class  with  little  or  no 
screen  possibilities,  but  with  plenty  of 
screen-fever — the  sort  of  fever  that  will 
eventually  make  bogus  kinema  schools  more 
prevalent  than  ever.  They  come  from  the 
class  of  screen-struck  who  write  this  kind  of 
letter  (actually  sent  to  the  Daily  Sketch )  : — 

“I  think  you  will  see  I  am  the  girl 
for  this  wonderful  opportunity.  I  have 
taken  prize  upon  prize  for  singing  and 
dancing,  but  have  always  longed  for 
film  life. 

“I  have  travelled  England;  I  know  a 
rare  lot  about  the  world,  so  it  would  not 
come  strange  to  me.  I  can  drive  a  horse, 
or  pair  of  horses,  and  make  just  as  good 
a  boy  as  girl — in  fact,  I  can  take  off  any¬ 
body  and  do  anything. 

“The  more  daring  the  better  I  like 
it. 

“I  am  only  a  working  girl,  and  hope 
I  am  the  lucky  one.” 

Already  the  number  of  victims  of  the 
stunt  is  so  great  that  20  large  committees 
are  at  work  in  all  parts  of  the  country. 
These  committees  include  mayors,  aldermen, 
bailies,  members  of  city  councils,  doctors, 
clergymen,  M.P.s,  Viola  Compton,  of  the 
Nottingham  Repertory  Theatre,  Mrs.  Philip 
Snowdon,  and — George  Robey.  These  ladies 
and  gentlemen  are  the  experts  who  will  help 
Norma  find  the  star ! 

Last  week  we  were  present  at  the  film-tests 
of  six  of  the  picked  girls.  And  we  felt  really 


sorry  for  them.  The  Topical  Budget  also 
exclusively  filmed  them.  A  less  likely  bevy 
of  “Screen  Queens”  we  have  never  seen. 
One  poor  girl  was  nearly  shot  with  her 
grease-paint  on  so  ihick  that  her  face  was 
glowing  and  shining  under  the  lights.  If 
this  is  the  type  of  girl  that  Miss  Talmadge 
is  encouraging  to  have  film  hopes,  then  we 
consider  that  she  is  acting  very  unwisely  to 
the  Industry  and  unkindly  to  the  girl. 

In  a  recent  issue  we  strongly  protested 
against  this  stunt  on  two  grounds :  its 
eventual  result  would  be  to  flood  the  bogus 
kinema  schools  with  hopeful  victims,  and 
also  because  while  there  are  talented  and 
experienced  screen  actresses  literally  starving 
in  this  country  it  is  in  very  bad  taste  for 
Miss  Talmadge  to  talk  of  finding  a  “British 
screen  star  ”  in  the  humbler  walks  of  life. 
We  said  this.: — 

“In  no  other  country  is  sincere 
patriotism  at  such  a  low  ebb  as  this 
where  British  artistes  are  allowed  to 
starve  ( literally )  while  an  American  can 
work  a  Press  stunt  at  their  expense. 
Norma  Talmadge’s  stunt  is  a  competi¬ 
tion  for  finding  ‘  a  British  screen  star  ’ 
from  behind  the  counters  or  in  the 
offices,  laundries  and  factories  of  this 
country  and  spend  {vide  the  Daily 
Sketch )  £200,000  on  her — in  America. 
Already  thousands  of  hopeless  screen 
aspirants  have  applied  for  the  ‘  job  ’ — 
only  one  can  be  successful ;  but  the  rest 
will  have  the  fires  of  screen  ambition 
awakened  in  them  to  such  an  extent  that 
the  hopelessly  overcrowded  film  profes¬ 
sion  will  be  invaded  by  thousands  of  in¬ 
competents.  And — such  is  British 

apathy — no  one,  outside  this  journal,  has 
raised  a  voice  of  protest.  If  Miss  Tal¬ 
madge  wants  to  spend  ^200,000  on  ‘  a 
British  screen  star  ’  we  can  give  her  the 
names  of  dozens  to  whom  a  minute  frac¬ 
tion  of  that  sum  would  be  a  god-send. 

Let  us  see  exactly  how  sincere  Miss 
Talmadge  is — we  make  her  the  offer : 
if  she  will  spend  a  tenth  of;  that  sum  on 
helping  British  screen  stars  we  will  sub¬ 
mit  a  real  scheme  to  her.  We  await  her 
reply.'” 

We  drew  the  attention  of  Miss  Talmadge 
to  this,  and  in  reply  received  the  following 
letter  from  a  Mr.  Phillipson,  of  the  Sales  De¬ 
partment  of  the  Associated  First  National 
Pictures,  Ltd.  : — 

“I  am  in  receipt  of  your  letter  of  the 
3rd,  and  must  thank  you  for  offering  to 
place  your  columns  at  the  disposal  of 
Norma  Talmadge  should  she  see  fit  to 
reply  to  your  article  appearing  in  The 
Motion  Picture  Studio  of  September 
3°* 

“At  the  same  time,  in  my  opinion,  the 
article  is  of  such  a  crude  nature  that  it 
really  is  not  worth  while  placing  before 
Miss  Talmadge.  As  far  as  we  and  Miss 
Talmadge  are  concerned,  the  matter  will 
remain  where  it  is.” 

The  fact  that  our  article  was  “of  such  a 
crude  nature  ”  does  not  worry  us  in  the 
least.  It  is  the  usual  American  method. 
But  what  we  do  admire  is  the  beautifully 
autocratic  way  in  which  this  gentleman  sees 
to  it  that  Miss  Talmadge  is  not  allowed  to 
mind  her  own  business.  “  As  far  as  we  and 
Miss  Talmadge  are  concerned  the  matter  will 
remain  where  it  is.”  The  point  of  this 
remark  is  contained  in  the  fact  that  at  the 
moment  this  was  written  Miss  Talmadge  was 
in  Russia. 


(Since  writing  the  foregoing,  we  have 
received  a  letter  from  the  Editor  of  the 
Daily  Sketch,  which  we  print  on  page  7.) 

We  are  coming  to  the  conclusion  that  Miss 
Talmadge’s  name  is  being  used  by  her  com¬ 
mercial  people  as  a  peg  to  hang  this  pub¬ 
licity  stunt  on  and  that  this  is  for  her 
latest  film,  “ Smilin'  Through .” 

In  the  first  place,  this  stunt  was  started 
just  as  “Smilin’  Through”  was  due  for 
release.  Also  on  numerous  occasions  refer¬ 
ences  have  been  made  in  the  Daily  Sketch 
to  this  particular  film,  and  exhibitors  have 
associated  this  competition  with  that  film, 
at  their  theatres.  And,  '  further,  David 
Howells,  who  (according  to  the  Daily  Sketch) 
arrived  in  London  “specially  to  prepare  for 
the  welcome  America  will  give  the  girl 
eventually  chosen,”  is  head  of  the  Associated 
First  National  Pictures,  Ltd.,  which  firm 
is  responsible  for  putting  out  “Smilin’ 
Through.”  This  may  also  explain  why  the 
Sales  Manager  and  not  the  Publicity  Chief 
wrote  the  above  letter. 

Therefore,  it  is  safe  to  assume  that  both 
“Smilin’  Through  ”  and  Norma  Talmadge 
are  getting  cheap  publicity  at  the  expense 
of  experienced  British  film  artistes.  But  the 
Daily  Sketch  is  also  doing  itself  well,  too. 
■It  is  issuing  special  numbers  based  on  this 
competition,  and  this  sort  of  circulation 
boost  is  printed  in  the  paper  : — “  To  keep 
in  touch  with  the  development  of  the  com¬ 
petition  plans,  read  your  Daily  Sketch  day 
by  day.  ...”  It  is  illuminative  to  note 
that  the  Topical  Gazette,  which  exclusively 
filmed  the  competitors,  and  the  Daily  Sketch 
both  belong  to  Sir  Edward  Hulton. 

Our  protest,  then,  is  directed  against 
Norma  Talmadge,  the  Associated  First 
National,  and  the  Daily  Sketch.  Between 
these  three  forces  the  studios  of  this  country 
will  be  flooded  by  a  small  army  of  the 
screen-struck,  while  real  British  artistes  are 
hard  pushed  to  it  to  find  enough  work  to  pay 
their  lodgings.  But  we  feel  very  strongly 
that  Miss  Talmadge  may  not  be  so  much  to 
blame  as  may  appear  on  the  surface.  It  is 
to  her  that  we  appeal.  Will  she  direct  her 
efforts  to  assisting  the  British  artistes?  We 
conclude  this  work  by  printing  an  extract 
from  the  ILncore  on  this  matter: — “The 
Motion  Picture  Studio  is  asserting  its 
rights  as  the  film  artistes’  paper  by  a  tirade 
against  the  Sketch  campaign  for  a  British 
star  to  be  trained  by  Norma  Talmadge. 
In  most  part,  its  statements  are  correct, 
but  no  one  can  prevent  an  actress,  from 
obtaining  her  publicity  in  the  best  way  she 
thinks  fit,  as  long  as  she  pays  for  it,  and  it 
is  to  be  presumed  that  these  columns  of 
praise  of  Norma’s  efforts  to  find  a  British 
star  are  paid  for.  It  is  to  be  deplored,  how¬ 
ever,  that  the  Sketch  representatives  cannot 
visit  the  Kinema  Club  and  the  film  agencies 
in  Wardour  Street  and  see  for  themselves 
how  many  recognised  film  artistes  are  prac¬ 
tically  starving,  without  much  chance  of 
doing  anything  else  during  the  winter. 
Surely  it  would  be  easier  and  more  practical 
for  the  promoters  of  this  scheme  to  adopt 
some  of  these  sterling  actresses  who  already 
have  an  almost  complete  knowledge  of  acting 
before  the  camera  than  to  select  Miss  A., 
who  is  a  Lyons’  waitress,  or  Miss  IL,  who 
is  a  dexterous  counter  lady  in  a  drapery 
stores.  No,  Norma  and  Mr.  Schenk,  the 
publicity  gained  by  this  scheme  will  not 
outweigh  the  bad  feeling  you  are  engender¬ 
ing  in  the  trade  and  profession.” 

The  suggestion  that  Miss  Talmadge  is  pay¬ 
ing  for  the  publicity  stunt  is  rather  interest¬ 
ing.  But  we  ha-dlv  Ihink  so. 


6 


October  14,  1922 


THE  MOTION  PICTURE  STUDIO 


IniiTnalie  Studio  Q os  sip 


M"any  happy  returns  of  the  clay  to 
Eille  Norwood,  who  celebrated  the 
anniversary  of  his  birthday  on  October 
11.  May  he  live  to  see  many  more. 

i  t  appears  that  the  Victoria  Cinema 
College  is  being  formed  into  a 
private  company.  It  was  registered 
on  October  3,  with  a  capital  of  .£300 
in  shares,  to  acquire  the  business 
of  the  Victoria  Cinema  College  and 
Studios  at.  Rathbone  Place,  W.i.  The 
first  directors  are  E.  Godal  and  F. 
Davy,  with  the  former  as  permanent 
managing  director  subject  to>  holding, 
500  shares. 

Congratulations  to  Norman  Mac¬ 
Donald,  who  was  presented  by  his 
wife  with  a  honnie  bouncing  boy  on 
Wednesday  morning.  The  embryo 
director  weighed  lb.,  and  his  proud 
father  says  he  is  worth  much  more 
than  tliat  weight  in  gold.  Both 
mother  and  child  are  doing  well. 

Just  at  the  moment  the  laurel  wreath 
is  placed  at  the  feet  of  Nora  Swin¬ 
burne,  who  has  created  a  record  for 
hard  Work  by  playing  Saul  Ogden  in 
“The  Bat,”  at  St.  James’s,  and 
juvenile  lead  in  “The  Hornet’s  Nest” 
for  Walter  West.  As  the  film  is  being 
made  at  Shoreham  Nora  is  doing  a 
daily  journey  of  122  miles  and  working 
20  hours  a  day.  She  catches  the  last 
train  from  Victoria  to  Brighton  and 
motors  '.hence  to  Shoreham,  getting 
to  bed  at  2.30  in  the  morning.  At 
6.30  she  :s  up,  and  at  7.30  working 
in  the  studio1.  It  means;  having  break¬ 
fast  in  her  make-up  and  working  at 
the  studio  until  1  o’clock.  A  hasty 
lunch  and  then  before  the  camera  until 
5  o'clock,  car  to  Brighton  and  train 
to  the  theatre.  Even  the  American 
hustlers  can’t  beat  Nora. 

After  having  played  the  part  of  the 
good  heroine  in  a  number  of 
films,  Madge  Stuart  has  now  become  a 
burglar.  In  “God’s  Prodigal”  she 
leads  the  hero  from  the  straight  and 
narrow  path  and  persuades  him  to 
commit  burglaries  with  her.  To  be 
quite  sure  that  her  costume  and  inter¬ 
pretation  of  the  part  should  be  correct 
Miss  Situart  consulted  a  Scotland  Yard 
official,  and  asked  his  advioe  on  how 
she  should  dress.  To  prove  that  the 
popular  impression  of  a  *ady  burglar 
is  incorrect,  Miss  Stuart  says  that  the 
official  admitted  that  women  who  take 


to  burglary  are  usually  of  the  innor 
cent-looking,  attractive  type.  “They 
are  what  we:  term  ‘  wheedlers,’  ”  con¬ 
tinued  the  official,  “and  it  is  frequently 
their  sheer  innocence  of  expression  and 


JUST  TO  HAND 

From  the  Editor  of  the  Daily  Sketch. 

Dear  Sir, — I  have  been  requested  by 
Miss  Talmadge  to  reply  for  her  to  your 
letter  of  October  3rd,  in  which  you 
kindly  propose  to  print  any  reply  Miss 
Talmadge  may  make  to  the  rather 
curious  attitude  taken  by  the  “  Motion 
Picture  Studio  ”  on  the  contest  being 
conducted  by  the  “Daily  Sketch.” 

Miss  Talmadge  wishes  me  to  say  that 
she  will  write  for  you  a  complete  reply 
provided  you  will  forward  to  me  your 
agreement  to  either  run  her  reply 
exactly  as  it  is  written  or  not  at  all. 
Upon  receipt  of  this  I  will  forward  to 
you  for  her  the  statement  she  is  about 
to  send  me. 

Please  understand  I  am  merely  com¬ 
municating  Miss  Talmadge’s  message  to 
you  and  am  in  no  way  interested  other 
than  as  the  personal  friend  of  the  lovely 

Mrs.  Schenk.— H.  L.  GATES  (Editor). 

#  #  # 

The  Editor  of  the  Daily  Sketch  has 

our  assurance  that  Miss  Talmadge’s  letter 

will  be  printed  without  altering  even  a 
comma. 


action  which;  makes  us  first  suspect 
therm.”  Madge  is  wondering  whether 
he  was  paying  her  a  compliment  or 
otherwise. 

Adrian  Brunei  wrote  mei  on  Tuesday 
thusly :  “  I  am  off  to  Venice  t o- 
1  nor  row  morning,  and  I  only  wish  you 
would  come  and  take  the  picture  for 
me.  Theoretically,  the  life  of  a 
director  is  an  enchanting  holiday,  but 
actually  it  is  a  long  succession  of 
homeopathic  doses  of  lunacy.  That  is 
why  the  Motion  Picture  Studio 
finds  me  always  grinning.” 

prom  Torquay,  where  he  is  holiday 
making  Felix  Norman  writes  to 
tell  me  that  he  is  having  a  good  time, 
and  getting  ready  for  the  hard  work 
that  awaits  him  in  connection  with 
the  next  Blaekton  production,  “The 
^  h'gio  Queen.”  This  title  was  chosen 
by  Mr  Blaekton  nearly  two;  years  ago, 
when  he  was  first  considering-  making- 
a  production  based  on  his  favourite 
theme,  the  private  character  of  Queen 
Elizabeth  Lady  Diana  Manners  will 
play  the  title  role.  Robert  Dudley, 
Earl  of  Leicester,  wTl  be  plaved  bv 


Carlyle  Blackwell,  engaged  specially 
from  America.  The  period  of  the  play 
includes  the  last  years  of  Queen  Marv 
I  udor’s  life,  when  Elizabeth  was 
Princess,  and  extends  into  the  first 
few  vears  of  her  reign. 

T'hei  e  will  be  nearly  400  costumes, 
accurately  designed  and  selected  by 
Paula  H.  Blaekton,  and  approved  by 
the  eminent  historian,  Harry  Pirie 
Gordon,  who  has  been  engaged  to 
make  historical  research  and  has  col¬ 
laborated  with  Mr.  Blaekton  In  the 
writing-  of  the  film  story.  The  cos¬ 
tumes  of  the  principals  will  be  executed 
by  Jefferson  Arthur  (Peake  Scarab), 
who  has  recently  costumed  the 
Beech  a  m  opera  “The  Merchant  of 
V  enice;  so  successfully,  and  designed 
many  of  the  special  costumes  for  the 
Cochran  enterprises.  Several  hundred 
mounted  pikemen  in  half-armour  of 
the  period  wall  be  used,  and  Mrs. 
Blaekton  aims  to  make  this  picture  the 
most  magnificently  and  accurately  cos¬ 
tumed  film  ever  produced. 

0ne  01  the;  best-attended  British  Trade 
shows  yet  will  be  “The  Call  of  the 
East,  ’  the  Bert  Wynne  production 
which  will  be  screened  at  the  Shaftes¬ 
bury  Pavilion  on  Tuesday,  October  24. 
Particular  interest  attaches  to  this,  as 
it  proves  that  this  country  is,  quite  as 
well  placed  as  America  for  locations. 

“  The  Call  of  the  East  ”  has  an  Orien¬ 
tal  setting,  and,  rather  than  build 
unconvincing  desert  sets  in  the  studio, 
Bert  Wynne  decided  to  take  his  prin¬ 
cipals,  to  Egypt  and  get  the  actual 
backgrounds.  The  film  is  noteworthy 
lor  its  excellent  desert  and  other 
Oriental  scenes,  and  should  be  a  bril¬ 
liant  testimony  to  the  facilities  that  are 
close  at  hand  lor  British  d i rectors. 


in  the  new  him,  “The  Lion’s  Mouse,” 
in  -which  Wyndham.  Standing  has 
juslt  finished  playing  the  leading  part, 
some  of  the  scenes  are  set  in  Russia. 
1  o  make  these,  Standing  journeyed  to 
Petrograd,  where  he  had  some  very 
thrilling  adventures.  He  declares  that 
in  certain  quarters  of  the  city  the  dis¬ 
tress  amongst  the  people  is  lieart- 
r  ending. 


THE  MOTION  PICTURE  STUDIO 


October  14,  1922 


CAMERAMEN’S  SECTION 


News  and  Views 
and 

Record  of  Activities  of  K  i  n  e  -  C  a  m  e  r  a  m  e  n 


WHAT’S  WRONG  WITH  THE  K  C.S  ? 


SOMETHING  must  be  done.  Everyone  is  agreed  upon  that  point.  Some 

say  that  the  Kine-Cameramen’s  Society  is  all  wrong,  and  some  see  a  few 
good  points  in  it  and  others  are  quite  pleased  with  the  manner  in  which  it  does 
its  business.  Undoubtedly  there  is  something  wrong  with  the  Society  and  the 
sooner  that  everyone  is  agreed  upon  that  point  the  better,  for  then  something 
can  be  done  to  right  the  wrong  and  to  put  the  Society  on  a  better  footing. 

Attempts  have  been  made  and  in  most  cases  have  failed.  A  few  weeks 
ago  things  seemed  to  be  looking  up  when  the  meetings  were  well  attended  and 
members  showed  more  interest  in  the  Society’s  work.  But  things  are  as  bad 
as  ever  again,  and  this  state  of  affairs  is  likely  to  continue  until  something  is 
done. 

What  is  to  be  done  ?  That  is  not  for  us  to  say  ;  it  is  a  matter  that  should 
be  dealt  with  by  the  members.  It  is  one  thing  to  go  around  grumbling  at  the 
Society,  and  another  to  put  everything  right  with  it.  Yet  members  seem  to 
prefer  to  go  and  voice  their  grievances  outside  the  meetings  rather  than  to 
stand  up  and  boldly  declare  them  before  the  members. 

Lately,  even  the  special  efforts  on  behalf  of  the  members  have  been  neglected. 
Dinners,  dances  and  outings  are  not  given  proper  support.  Meetings  are  not 
properly  attended.  On  both  the  social  and  business  sides  members  are  neglecting 
the  Society.  Why  ?  No  one  can  tell  because  the  members  themselves  will  not 
tell,  but  will  only  grumble  and  grouse  and  expect  other  men  to  put  things  right. 

The  Society  has  lasted  longer  than  many  other  Trade  bodies.  It  has  done 
a  great  deal  of  good,  and  it  would  certainly  be  a  pity  to  have  it  go  out  of  existence, 
now.  Yet  it  would  do  so  if  it  were  not  for  the  efforts  of  a  few  of  its  loyal  members, 
who  still  manage  to  carry  on  and  hold  it  together. 

One  of  the  greatest  obstacles  the  Society  is  up  against  is  the  apathy  dis¬ 
played  towards  its  work  and  welfare  by  most  of  the  members.  Until  members 
display  a  livelier  interest  in  the  K.C.S.,  it  will  always  be  wrong. 


CAMERAMEN  AT  PLAY 


ETHIE  presentation  of  prizes  won  at  the 
recently  held  Cameramen’s  Outing  took 
place  on  Saturday  last.  Arrangements  had 
been  made  with  the  Pa  the  Social  Club  for 
a  number  of  the  Kine-Cameramen’s  Society 
to  he  present  at  the  Pathe  Dance,  which  was 
held  at  Australia  House,  and  for  prizes  to 
he  presented  there  during  the  evening. 
Excellent  arrangements  were  made  for 
entertaining  the  cameramen,  and  during 
the  evening  a  picture  was  projected  showing 
the  Cameramen’s  Outing. 

The  following  prizes  were  given,  Mrs. 
Henry  Saunders  being  called  upon  to 
present  them:— Jack  Cotter  won  the  first 
prize  for  the  Kine.  Cameramen’s  Race 
Championship,  the  second  being  awarded  to 
A.  Arch.  The  Film  Rewinding  Race  first 
prize  Was  awarded  to  J.  Hodgson,  while 
Kenneth  Gordon  carried  off  the  second. 
rl  he  100  yards  Members’  Handicap  was  won 
by  Bert  Ford,  and  the  second  was  A.  Arch. 
Miss  S.  Reuss  and  Kenneth  Gordon  were 
awarded  the  two  firsts  for  the  three-legged 
Race,  while  Mr.  and  Mrs.  Henry  Saunders 
were  second.  The  Lady  Visitors’  Race  was 
won  by  Miss  Gibbs,  and  for  the  Gentle¬ 
men  Visitors’  Race  J.  Jones  was  awarded 


first  prize.  Stanley  Rodwell  se(  ured  the 
first  prize  for  the  Gentlemen’s  Open  Race 

The  president  of  the  f-ociety — Henry 
Saunders — on  behalf  of  the  members, 
thanked  the  Pathe  Social  Club  for  the  excel¬ 
lent  way  in  which  it  had  entertained  the 
cameramen  present. 

Dancing  went  on  until  a  very  late  hour, 
and  during  the  evening  Henry  Saunders 
acted  as  M.C.  S.  Strahler,  Kenneth  Gordon 
and  Bert  Ford  were  among  the  few  non¬ 
dancing  members  of  the  Society  who  were 
taken  in  hand  by  some  of  the  ladies  present, 
and  before  the  evening  was  finished  were 
well  on  the  way  to  becoming  efficient 
dancers. 

When  the  hour  arrived  for  Henry 
Saunders  to  catch  his  last  train  Kenneth 
Gordon  took  over  the  duties  of  M.C.  and 
conducted  matters  until  the  hour  arrived 
for  the  dance  to  finish. 

Everyone  present  agreed  that  it  was  a 
most  enjoyable  evening,  and  t!  anks  is  due 
to  those  who  arranged  it  for  the  excellent 
manner  in  which  everything  was  carried 
through. 


CAMERAMEN 
AT  WORK 


J>RACTJCALLY  every  week  now  the 
Pathe  Gazette  is  carrying  pictures 

taken  by  Tommy  Scales.  Scales,  it _ will  be 

remembered,  left  England  some  time  back 
on  board  H.M.S.  Ilood,  and  is  photograph¬ 
ing  incidents  in  that  ship’s  tour  of  the 
Pacific.  Already  some  shots  of  the  Crossing 
the  Line  ceremony  aboard  the  ship  and 
pictures  of  battleships  of  the  world’s  navies 
in  Rio  de  Janeiro  have  been  included  in  the 
Gazette. 


Topical  Budget  cameramen  are  having  the 
job  of  filming  the  Daily  Sketch  Norma  Tal- 
madge  Beauties,  and  giving  them  their  first 
screen  tests.  These  pictures  are  to  be  in¬ 
cluded  in  the  Budget  each  week. 


Tathe's  men  were  on  the  job  at  the  fight 
on  Thursday  last,  and  are  said  to  have 
secured  some  excellent  shots  of  the  various 
matches.  At  the  time  of  writing  the  film 
had  not  been  shown,  so  that  I  have  had 
no  opportunity  of  verifying  these  statements. 

Jack  Cotter’s  young  brother  is  in  charge 
of  the  projection  department  at  Australia 
House.  I  was  introduced  to  him  on  Satur¬ 
day  last  during  the  dance,  when  myself 
and  a  few  other  people  found  it  necessary 
to  have  a  look  over  the  projection  depart¬ 
ment.  He  has  recently  returned  from  Aus¬ 
tralia,  and  is  now  attending  to  the  showing 
of  films  dealing  with  Australia  and  Austra¬ 
lian  life,  which  are  being  shown  at  the 
Kinema  in  Australia  House. 


Both  the  Topical  Budget  and  Pathe 
excellent  “  stuff  ”  of  the  trouble  in  the  East, 
excelent  “stuff  ”  of  the  trouble  in  the  East. 
It  will  be  rememebred  that  a  week  or  two 
back  Topical  showed  some  wonderful  pictures 
of  the  actual  fighting  between  the  Greeks  and 
the  Turks.  It  was  generally  agreed  that  this 
subject  was  one  of  the  most  sensational  war 
topicals  ever  shown.  Pathe  Gazette  has 
some  very  (fine  shdts  of  the  burning  of 
Smyrna  included  in  its  number  which  was 
released  last  Thursday.  We  are  shown  the 
burning  buildings  in  the  background  with  the 
crowds  of  refugees  running  along  the  quays 
to  get  the  safety  afforded  them  on  the  boats 
lying  in  harbour. 


J.  Serrader,  a  South  American,  has  arrived 
in  London,  and  is  said  to  have  brought  with 
him  a  remarkable  new  camera  which  has 
many  merits.  Particularly  in  the  matter 
of  lens,  this  camera  is  said  to  be  something 
new,  and  I  am  looking  forward  to  a  demon¬ 
stration  of  it  at  some  time  in  the  near  future. 


8 


October  14,  1922 


fHE  MOTION  PICTURE  STUDIO 


- - - - - - -  : 

Where  they  are  and - 

- what  they  are  doing 


.Tack  Dorrington  lias  been  playing  lor 
Stoll. 

Denison  Clift  is  to  direct  “Out  to  Win’ 
for  Ideal. 

Miriam  Murray  lias  been  working  in  “  l  lie 
Scientist”  for  Gaurnont. 

Walter  Tennyson  is  to  play  for  J .  Stuart 
Blackton  in  “The  Virgin  Queen.” 

Sinclair  Hill  is  cutting  and  editing  liis 
new  Stoll  film,  “Petticoat  Loose.” 

T.  Canning  is  to  play  for  J .  Stuart 
Blackton  in  “The  Virgin  Queen.” 

Gordon  Hopkirk  has  been  playing  in 
“The  Last  Crusade”  for  B.  and  C. 

Norma  Wha'liey  is  playing  in  “The  Virgin 
Queen”  as  the  Countess  of  Lennox. 

Yazikova  is  to  play  in  the  Atlas  Biocraft 
production,  “  The  Man  Without  Desire.” 

Douglas  Munro  has  been  working  for 
Ideal  in  “Paupers  of  Portman  Square.” 

Marian  Blackton  is  one  of  the  Queen’s 
Maids  of  Honour  in  “The  Virgin  Queen.” 

Frank  Crane  has  nearly  completed 
“Paupers  of  Portman  Square”  for  Ideal. 

Beryl  Norton  has  been  engaged  for 
J.  Stuart  Blackton’s  “  The  Virgin  Queen.” 

Mrs.  Hubert  Willis’s  part  in  the  new 
Davidson  subject  is  that  of  Widow  Widds. 

Hubert  Carter  will  be  one  of  the  leading 
artistes  in  J.  Stuart  Blackton’s  “The  Virgin 
Queen.” 

Margaret  Bannerman  has  been  playing 
for  Ideal  in  “The  Paupers  of  Portman 
Square.” 

William  Luff  is  appearing  as  Do  Quadra, 
the  Spanish  Ambassador,  in  “The  Virgin 
Queen.” 

Reginald  Owen  is  taking  one  of  the  lead¬ 
ing  roles  in  Ideal’s  “Paupers  of  Portman 
Square.” 

Ernest  Spalding  is  to  play  in  Edward 
Jose’s  International  Artists  subject,  “God’s 
Prodigal.” 

Alec  Alexander,  Junr.,  having  recovered 
from'  his  recent  illness,  is  now  open  to 
accept  offers  • 

Ann  Trevor  is  playing  for  Frank  Crane  in 
his  new  Ideal  production,  “Paupers  of 
Portman  Square.” 

Knighton  Small  has  been  appearing  in 
“Petticoat  Loose”  for  Stoll  as  the 
theatrical  manager. 

Peter  Dear  is  playing  for  Ideal  in  Frank 
Crane’s  new  production  for  that  company, 
“  Paupers  of  Portman  Square.” 

A.  B.  Imeson,  after  completing  his  part 
in  “The  Harbour  Lights”  for  Ideal,  is  to 
return  to  J.  Stuart  Blackton  in  “The  Virgin 
Queen.” 

Violet  Blackton  is  to^be  seen  as  one  of 
the  Maids  of  Honour^  to  the  Queen  in 
Blackton’s  new  subject,  “The  Virgin 
Queen.” 


Lottie  Blackford  has  recently  completed 
work  for  Ilepworth. 

Jeff  Barlow  is  plaving  for  Walter  W’est  in 
“The  Hornet’s  Nest.” 

Arthur  Walcott  is  playing  for  Walter  West 
in  “The  Hornet’s  Nest.” 

Adrian  Brunei  is  directing  “The  Man 
Without  Desire  ”  for  Atlas  Biocraft. 

Capt.  Calvert  is  now  completing  the  pro¬ 
duction  of  “The  Scientist”  for  Gaumonc. 

Challis  Sanderson  has  completed  a  one- 
reel  sporting  subject  about  Polo,  for  Master 
Films. 

Peggy  Bayfield  is  playing  in  the  prologue 
of  “  Man — Woman — Marriage  ”  at  the 
Willesden  Empire. 

George  A.  Cooper  is  to  direct  “The 
Letters,  ”  for  Quality  Films,  and  is  at  the 
minute  working  on  “The  Dancing  Partner.” 

William  Deltte  finishes  work  in  “God’s 
Prodigal,”  for  International  Artists  this 
week,  and  is  to  play  for  Blackton  in  “The 
Virgin  Queen.” 

Richard  Atwood,  having  recently  finished 
working  in  “Price  of  Silence”  for  Granville 
Productions,  is  now  with  International 
Artists  in  “God’s  Prodigal.” 


CLUB  CLATTER 

t^UNDAY  last  was  a  great  night.  Never 
^  were  the  members  more  unanimous  in 
anything  than  in  their  decision  regarding 
Sunday  night’s  cabaret.  Some  say  it  is  the 
best  function  that  the  Club  has  ever  held 
since  the  opening,  and  it  is  certain  that 
another  such  evening  will  be  held  shortly — 
at  least,  that  was  the  desire  of  those  present. 
Every  t.alble  was  booked,  and  it  was  im¬ 
possible  to  find  room  for  another  person. 
The  bar  did  enormous  business,  every  bottle 
of  champagne  being  sold  out.  Everyone 
combined  to  make  it  a  merry  evening,  and 
were  very  successful  in  their  efforts  to  do 
so.  Sidney  Paxton  acted  as  chairman. 
Bertram  Burleigh,  with  a  lady  friend,  gave 
an  exhibition  dance,  and  as  an  encore  Mal¬ 
colm  Tod  and  Dorothy  Fane  gave  another 
exhibition  dance. 

During  the  evening  dancing  and  singing 
was  held  between  the  dinner  courses,  and  it 
was  nearly  midnight  when  the  last  course 
was  served.  The  success  of  this  affair  only 
goes  to  show  that  members  are  willing  to 
support  the  social  side  of  the  Club  when 
given  a  proper  opportunity. 

The  Club  Band  is  to  be  strengthened  by 
the  addition  of  J.  H.  Maitt  of  Maitt  and 
Myers,  who  is  taking  over  the  very  im¬ 
portant  position  of  trap-drummer.  Malcolm 
Tod,  having  arrived  back  from  Scotland,  re¬ 
fuses  to  allow  peace  and  quietness  to  reign, 
and  will  be  seen  once  more  at  the  business 
end  of  a  Swanee  whistle.  It  also  grieves 
me  to  hear  that  Donald  Searle  has  now 
decided  to  join  the  gang  of  piecebreakers, 
but  in  what  capacity  1  have  yet  to  learn. 

The  Club,  I  understand,  is  getting  better 
support  from  members  than  iti  has  done  for 
some  time  back.  Things  are  beginning  to 
look  better,  probably  because  of  the  colder 
weather  and  the  dark  evenings.  Throughout 
the  winter  this  state  of  affairs  should 
continue. 


WARWICK 

WARD 


At  LIBERTY  SHORTLY 

( Telephone  -  -  Paddington  2J-09) 


Recent  Engagements  : 
“Tell  your  Children” 

(bi'erna'ional  Artists) 

“  Bulldog  Drummond  ” 

( A  ngl  o-Hol  landia) 

“  Desert  Sands  ” 

(International  Artists) 

“  Petticoat  Loose  ” 

(Stoll) 


TELEPHONE  -  PADDINGTON  2409 
KINEMA  CLUB  -  -  REGENT  2131 


Q 


1  HE  MOTION  PICTURE  STUDIO 


October  14,  1922 


COMPLETE  LIST  OF  ALL  THE  BRITISH  STUDIOS,  TOGETHER 
WITH  ADDRESSES,  TELEPHONE  NUMBERS, 


Albert- Phillips  Film  Production. 

Address  :  3,  Wardour  Street,  W.  1. 
Phone  :  Regent  3282. 

Film  :  “  Fatty’s  Overtime.” 
Director  :  Edward  D.  Roberts. 
Star  :  Fatty  Phillips  and  Athalie 
Davis. 

Scenarist  :  Muriel  Alleyne  and 
Christabel  Lowndes-Yates. 
Cameraman  :  Frank  Canham. 

Stage  :  Scheduled. 

Alliance  Film  Co. 

Studio:  St.  Margaret’s,  Twicken¬ 
ham. 

Phone  :  Richmond  1915. 

Route  :  Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s.  Fare  : 
1st,  2s.  Ok,  3rd,  Is.  OJd.  ;  R.T., 
1st  3s.  Id.,  3rd  2s.  Id. 

From  AVaterloo  :  A.m.,  every 
10  minutes  ;  from  St.  Margaret’s 
every  10  minutes. 

Artistii  Films,  Ltd. 

Address  :  93-95,  Wardour  Street, 
AV.  1. 

Phone  :  Girrard  3210. 

Film  :  “  Diahtone  Lane.” 
Director:  Manning  Haynes. 
Scenarist:  Lydia  Hayward. 
Cameraman:  Frank  Grainger. 
Stage  :  Casting. 

Allas  Biocraft. 

Address  :  16,  Albemarle  St.,  W. 
Gen  Manager:  Miles  Mander. 
Film  :  “  The  Man  without  Desire.” 
Director  :  Adrian  Brunei. 

Star  :  Ivor  Novello. 

Cameraman  :  Harry  Harris. 
Scenarist  :  Frank  Fowell. 

Stage  :  First  week. 

Barkers. 

Address  :  Ealing  Green,  London, 
W.  5. 

Phone:  Ealing  211  and  1582. 
Studio  :  Vacant. 

Route  :  C.L.R.  Tube  to  Ealing. 

B  &  C.  Produc’ions. 

Address:  Hoe  St.,  Walthamstow. 
Phone  :  AValthamstow  364  and  712. 
Route  :  Bus  38.  Tram  81  to 
Bakers’  Arms.  G.E.R.,  liver- 
pool  Street  to  Hoe  Street. 
Fare :  1st  Is.  2d.,  2nd  10^d., 
3rd  7d.  R.T.,  1st  Is.  9d.,  2nd 

Is.  4d.,  3rd  10|d. 

From  L.S.  :  A.m.  7.58,  then 
everv  few  minutes  until  p.m., 
9.5,  9.20,  9.35,  9.50,  10.5,  10.20, 

10.35,  10.50,  11.5,  11.20,  11.35, 

11.50,  12.5,  12.35  midnight. 

Hoe  Street  to  L.S.  :  A.m.,  7.53, 

8.2,  8.8,  then  every  few  minutes  ; 
p.m.,  8.20,  8.35,  8.50,  9.6,  9.20, 

9.35,  9.49,  10.6,  10.20,  10.36, 

10.50,  11.6,  11.20,  11.35,  12.2. 
Film  :  Historial  Incidents. 
Director  :  George  Ridgwell. 
Cameraman  :  A.  W.  Kingston 
Type  :  One  reelers. 

Stage  :  One  a  fortnight. 

'  aron  Films. 

Address:  95,  St.  Martin’s  Lane, 
W.C.2 


Bdtish  Famous  Films. 

Address  :  “  Woodlands,”  High 

Road,  Whetstone. 

Phone  :  Finchley  1297. 

Studio  Vacant. 

British  and  Oriental. 

Address  :  B.  P.  Studios,  Thornton 
House,  Thornton  Road,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Studio  being  used  by  Quality  Films. 

British  Photoplays 

Address  :  Devon  Chambers,  28, 
Fleet  Street,  Torquay. 

Not.  Working. 

Briti ■>  i  Productions. 

Address  :  Selborne  Road,  Hove. 
Film  :  Historial  Subjects. 
Director  :  Lieut.  Daring. 
Camermaan:  A.  Kingston. 

British  Super  Films. 

Address  :  Worton  Hall,  Isleworth. 
Phone  :  Hounslow  212. 

Route  :  Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth. 
Fare :  1st  Is.  Old.,  3rd  9d.  ; 
R.T.,  1st  Is.  9d. ,”  3rd  Is.  6d.  ; 

а. m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 
past  each  hour  until  11.51  p.m. 
Extra  trains,  4.43,  5.13,  5.43, 

б. 13,  6.43,  7.13. 

Isleworth  to  Waterloo :  8.33, 

8.44,  9.3,  9.14,  9.33,  9.44,  10.14, 

10.44.  Same  minutes  past  every 
hour  until  10.44,  11.14  p.m. 
Extra  trains  5.30,  6.0,  6.30. 


Film  :  The  Right  to  Strike. 
Director  :  Fred  Paul. 
Cameraman  :  Sidney  Blythe. 
Stage  :  Cutting  and  Assembling. 


Film  :  Super  production. 

Stage  :  Scheduled. 

Daisy  Productions. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson 

Address  :  Lea  Bridge  Road,  E.  10. 
Phone  :  Walthamstow  634. 
Route:  Bus  Nos.  35  and  38. 
Trams  81,  55,  57. 

G. E.R.  from  Liverpool  Street 
to  Lsa  Bridge  Road.  Fares  : 
1st  Is.  2d.,  2nd  10^1.,  3rd  7d. 
R.T.,  1st  Is.  9d.,  2nd  Is.  4d., 
3rd  lOJd.  A.m.,  10.34 ;  p.m., 

1.50,  3.5,  4.37,  6.27,  8.5. 

Lea  Bridge  to  Liverpool  Street : 
A.m.,  8.26;  p.m.,  1.4,  5.27,  5.54, 
6.29,  7.7,  8.4,  8.57,  10.4. 

Film  :  “  Winners  of  Fortune.” 
Director  :  Arthur  Rooke. 

Star  :  Henry  Vibart. 

Cameraman  :  Leslie  Eveliegh. 
Stage  :  Fifth  week. 

F.  P.-Lasky. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route:  Bus  38a,  to  North  Road, 
and  then  tram  No.  11. 

Studio  being  used  by  Grahame 
Cutts. 

Gaumont. 

Studio  :  L’me  Grove,  Shepherd’s 
Bush,  W.12. 


Phone:  Hammersmith  2090-1-2. 
Route  :  Bus  Nos.  12,  17,  and  train 
from  Shepherd's  Bush  Station 
Film  :  “  The  Scientist.” 

Director  :  Capt.  Calvert. 

Stars  :  Marjorie  Hume  and  David 
Hawthorne. 

Cameraman  :  Basil  Emmott. 
Scenarist  :  Alicia  Ramsay. 

Stage  :  Seventh  week. 

Clen  Film  Productions. 

Address  :  20,  Lisle  Street,  W.C. 
Studio  :  “  Belgrave,”  Marine 

Terrace,  Aberystwyth. 

Not  working. 

Ceorge  mark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Phone  :  Museum  3012. 

Film  •  “  Maid  of  the  Silver  Sea.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Cameraman:  Hal  Young. 

Stage  :  Sixth  week. 

Grahame  Wilcox  Productions. 
Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
then  tram  No.  1 1. 

Film  :  “  Paddy  the  Next  Best 

Thing.” 

Director  :  Grahame  Cutts. 

Star  :  Mae  Marsh. 

Cameraman  :  John  Parker. 
Scenarist  :  Elliot  Stannard. 

Stage  :  Fourth  week. 


Film  :  Not  announced. 

Director  :  Grahame  Cutts. 
Stage  :  Starting  shortly. 
Cranger-bmger. 

Address  :  191,  Wardour  St.,  W.  1. 
Phone:  Gerrard  10S1  and  1728. 
Studios  :  Haarlem,  Holland. 

Film  :  “  The  Lion’s  Mouse.” 
Director  ;  Oscar  Apfel. 

Star  :  Wvndham  Standing. 

Stage  :  Fourth  week. 

C.anville  P/cductio  s. 

Address  :  Windsor  Studios,  Brom¬ 
ley  Road,  Catford. 

Phone  :  Lee  Green  948. 

Film  :  “  Shifting  Sands.” 
Director  :  Fred  Granville. 
Starring  :  Peggy  Hyland. 
Cameraman  :  Walter  Blakely. 
Type  :  Five  reel  drama. 

Stage  :  Cutting  and  Assembling. 

Film  :  “  Hennessey  of  Moresby.” 
Stage  :  Starting  shortly. 

Hardy. 

Address:  13,  Gerrard  St.,  W.l. 
Harma  Clarendon. 

Address  :  16,  Limes  Road,  Croydon 
Phone  :  Croydon  921  and  2084. 

Not  working. 

Hepwcrth  Picture  Plays. 

Address  :  Walton-on-Thames. 
Phone  :  Walton  16. 

Route  :  From  Waterloo.  Fare  : 
1st  4s.  1  l£d.,  3rd  2s.  6d.  ;  R.T., 
1st  7s.,  3rd  4s.  4£d. 

From  Waterloo:  A.m.,  7.0, 
8.0,  9.20,  10.20,  11.20;  p.m., 

12.20,  1.20,  2.20,  3.20,  4.20,  4.54, 


WE  CAN  deliver  from  stock 

The  National  12  in.  by  2  in-  Silver-tipped 
Cart  or  s  for  hi  and  other  Studio  Lamps. 

Recommended  by  Wohl  s  as  the  only  suitable  Carbon 
f  r  their  Lamps. 

UN!  ED  KINGDOM  PHOTOPLAYS,  Ltd 

29a,  ^haring  cross  r^ad,  w.c  2. 

’Ph-  ne  :  Gerrard  8742. 


AGENCE  DEBRIE,  LONDON. 

Kii  emategraph  Studi<  &  Factor}  Apparatus. 


’Phone 


9* 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W.  i 


10 


October  14,  1922 


THE  MOTION  PICTURE  STUDIO 


FULL  PARTICULARS  OF  CURRENT  PRODUCTIONS,  ROUTES 
AND  FARES  FOR  REACHING  THE  STUDIOS 


5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  8.20,  8.55,  9.20,  10.20, 

11.34. 

From  Walton  :  A.m.  7.59,  8.29 
8.41,  8.56,  9.9,  9.46,  10.10,  11.10. 
p.m„  12.10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44,  6.10,  7.10,  8.10,  9.10, 

10.10,  10.35,  11.34. 

Film  :  “  The  World  of  Wonderful 
Reality.” 

Director  :  Henry  Edwards. 
Cameraman  :  Gaston  Quiribet. 
Stage  :  Nearing  completion. 

Film  :  “  Pipes  of  Pan.” 

Director  :  Cecil  Hepworth. 

Stage  :  Nearing  completion. 

Ideal. 

Address  :  Boreham  Woods,  Elstree, 
Herts. 

Phone  :  Elstree  52. 

Route  :  Trains  from  St.  Pancras. 
Fare  :  1st  2s.  lid.,  3rd  Is.  9Jd.  ; 

R. T.,  double  fare.  A.m.,  7.30, 

S. 0,  8.50,  9.55,  10.45,  11.48; 
p.m.,  12.33,  1.13,  2.35,  3.55,  4.45, 
5.12,  6.2,  6.45,  6.50,  7.20,  8.8, 
9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras  : 
9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.3,  3.56,  4.56,  5.29,  6.18,  6.55, 
7.36,  8.54,  10.14,  11.3. 

Studio  Manager  :  F.  A.  Kendrick. 
Art  Director:  J.  T.  Garside. 

Film  :  ‘‘  Green  Sea  Island.” 
Director  :  Thomas  Bentley. 

Stars  :  Flora  Le  Breton  and  Clive 
Brook. 

Stage  :  Fifth  week. 

Film  :  “  This  Freedom.” 

Director  :  Denison  Clift. 

Star  :  Fay  Compton. 

Scenarist  :  Denison  Clift. 

Stage  :  Preparing  Scenario. 

Film  :  “  Harbour  Lights.” 

Director  :  Tom  Terriss. 

Star  :  Tom  Moore. 

Cameraman  :  W.  Shenton. 

Stage  :  Fifth  week. 

Film  :  “  Paupers  of  Portman 

Square.” 

Director  :  Frank  Crane. 

Stage  :  Nearing  completion. 

International  Artists. 

Address:  52,  Shaftesbury  Av.W.  1. 
Phone  :  6338. 

Film  :  “  Desert  Sand.” 


Director  :  Bert  Wynne. 

Stars  :  Doris  Eaton,  Walter  Tenny¬ 
son  and  Warwick  Warde. 
Cameraman  :  W.  Howse. 

Stage  :  Assembling. 


Film  :  “  God’s  Prodigal.” 

Director  :  Ed.  Jose. 

Cameraman  :  C.  McDowell. 

Stage  :  Third  week. 

Isle  of  IVIan  Films. 

Address  :  The  Manx  Studios, 
Isle  of  Man. 

Not  working. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington, 

Phone  :  Kingston  1617. 

Route  :  From  Waterloo  to  Tedding¬ 
ton,  Fare:  1st  2s.  7|d.,  3rd 
Is.  4d.  ;  R.T.,  1st  4s.  4|d.,  3rd 
2s.  8d.  From  Waterloo,  a.m., 
7.55.  Then  trains  every  few 
minutes  until  11.55  p.m.  From 
Teddington,  a.m.,  7.51.  Then 

trains  every  few  minutes  until 
11.1,  11. 16, *11.51  p.m.  Bus  27. 

Film  :  “  Sporting  Subjects.” 

Directors  :  H.  B.  Parkinson,  Ed¬ 
win  J.  Collins  and  George  Wynne 
and  Challis  Sanderson 

Cameraman  :  Theo.  Thumwood. 

Type  :  One  reelers. 

Stage  :  One  a  week. 


Film  :  “  A  Gamble  with  Hearts.” 
Director  :  H.  B.  Parkinson. 
Stars  :  Valia,  Madge  Stuart, 
Milton  Rosmer. 

Cameraman  :  Theodore  Thumwood. 
Stage  :  Completed. 


Film  :  “  The  Green  Caravan.” 
Director  :  E.  J.  Collins. 

Star  :  Catherine  Calvert. 

Stage  :  Third  week. 

Mineiva  Films. 

Address  :  110,  Victoria  St.,  S.W.l. 
Phone  :  Victoria  7545. 

Not  working. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 
Phone  :  Shoreham  19. 


Film  :  “  Facing  Fearful  Odds.” 
Director  :  Wilfred  Noy. 

Star  :  Mavis  Clare. 


Cameraman  :  Stanley  Mumford. 
Stage  :  Sixth  week. 

Quality  Films. 

Address  :  B.  P.  Studios,  Clapliam 
Park. 

Phone  :  Streatham  2652. 

Film  :  One  reelers. 

Director  :  George  A.  Cooper. 
Studio  Manager  :  S.  Folker 
Cameraman  :  R.  Terreaneau. 
Stage  :  One  a  week. 

Raleigh  King  Productions. 

Address  :  Watcombe  Hall,  Tor- 
quay. 

Studio  :  Vacant. 

Regulus  Films. 

Address  :  48,  Carnaby  Street, 

Regent  Street,  W.l. 

Not  working. 

Seal  Productions. 

Address  :  171,  Wardour  Street. 

Phone  :  Regent  4329. 

Not  working. 

Screenplays. 

Address  :  Cranmcr  Court,  Clapham 
Phone  :  Brixton  2956. 

Route  :  Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll. 

Address  :  Temple  Road,  Crickle- 
wood. 

Phone  :  Willesden  3293. 

Route  :  Bus  No.  16. 

Studio  Manager  :  J.  Grossman 
Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart 
Rome  and  Edith  Bishop. 
Cameraman  :  D.  P.  Cooper. 

Stage  :  Eleventh  week. 


Film  :  “  Petticoat  Loose.” 
Director  :  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  Lionelle 
Howard. 

Stage  :  Cutting  and  Assembling. 


Film  :  “  Top  of  the  World.” 
Director  :  Maurice  Elvey. 
Cameraman  :  Jack  Cox. 
Stage  :  Scheduled. 


J.  Stuart  Blackton. 

Address  :  Bush  House,  Alawych. 
Phone  :  Central  1935. 

Film  :  “  The  Virgin  Queen.” 

Director  :  J.  Stuart  Blackton. 
Star  :  Lady  Diana  Manners. 
Cameraman  :  Nicholas  Musurca. 
Stage  :  Starting  this  month. 

Torquay  &  Paignton  Photoplays 

Address  :  Public  Hall,  Paignton 
Not  working. 

Union  Films. 

Address  :  Strand  Street,  Liverpool. 
Phone  :  Central  (Liverpool)  325. 
Not  working. 

Walker  Boyd  Sunshine  Produc¬ 
tions. 

Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. 

Address  :  Princes  Studios,  Kew 
Bridge. 

Phone  :  Chiswick  574. 

Route  :  Bus  Nos.  27,  105. 

Broad  Street  to  Kew.  Fare 
1st  Is.  4d.,  3rd  9d.,  RT.,  1st 
2s.  0£d.,  3rd  Is.  4d.  A.m.,  8.2, 

8.20,  8.45,  9.0,  9.47,  10.17,  10  47, 

11.17,  11.47;  p.m.,  12.17,  12.47, 

1.17,  1.47,  2.17,  2.47,  3.17,  3.47, 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40, 
6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 
8.47,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street ; 
A.m.,  9.40,  10.8,  10.38,  11.8, 
11.38;  p.m.,  12.8,  12.38,  1.8. 

1.38,  2.8,  2.38,  3.8,  3.38,  4.8,  1.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20, 

6.38,  7.8,  7.38,  8.8,  8.38,  9.8,  9.38, 
Film  :  “  The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Violet  Hopson,  Florence 
Turner  and  James  Knight. 

Stage  :  Fourth  week. 

Welsh  Pearson. 

Address:  41-45,  Craven  Park 
Harlesden,  N.W.  10. 

Phone  :  Willesden  2862. 

Route  :  Bus  No.  18. 

Film:  ‘‘The  Romany.” 

Star  :  Victor  McLaglen, 

Director  :  Martin  Thornton. 
Cameraman  :  Percy  Strong. 

Stage  :  Ninth  week. 


R6GSNT5235  Qu&Mty  &  Service  WARDOUR  ST 

100%  F I LM  100% 

amfcIo.wKdou  Developersa  Printers  lo£R°h, 


ii 


Vol.  2— No  71 


Saturday,  October  14,  1922 


TWOPENCE 


A  WALKING  OFF  PART 


Frmn  “  The  Bystander .  By  Wiltnot  Lunt. 

The  kinema  star  who  walked  off  the  end  of  Southend  Pier,  whilst  trying  to 
keep  himself  in  the  searchlight  of  a  passing  battleship,” 


Printed  and  Published  by  ODHAMS  PRESS  Ltd.,  Long  Acre,  W.C.2.- October  14,  1922 


The  Motion  Picture  Studio,  October  21,  1922. 


Registered  at  the  O  P.O. 
as  a  Newspaper 


THE  TALMADGE  STUNT  EXPOSED. 


(Letter  from  Miss  Talmadge — See  page  9.) 


“THE  CALL  OF  THE  EAST” 


A  BERT  WYNNE  PRODUCTION. 


TRADE 

SHOW 

TUESDAY 

NEXT, 

OCTOBER  24, 
AT  11  a.m,, 
SHAFTESBURY 

FOR 

RIGHTS 

APPLY 

BERT 

WYNNE, 

52, 

SHAFTESBURY 
AVE.,  W.l. 

PAVILION. 

PHONE: 

SHAFTESBURY 

GERRARD 

AYE.,  W.l. 

6338  9. 

October  21,  1922 


THE  MOTION  PICTURE  STUDIO 


ARTISTES 


*  • 


ATHALIE  DAVIS 

Juvenile  Leads, 
Comedy  &  Emotional  Parts. 

DISENGAGED. 

Latest  Film  : 

“Hims  Ancientand  Modern.” 
Corns.  :  70,  Goldhurst  Ter¬ 
race,  Hampstead,  N.W.6. 
’Phone:  HamDStead  866. 


NOEL  GRAHAM E 

Heavy  Character  &  Comedy. 
Heavy  lead  :  “  Bladys  of  the 
Stetvponey,"  “Cost  of  a  Kiss,” 
“  Britain’s  Naval  Secret,”  etc. 
12,  Glebe  Place, 

Chelsea,  S.W.3, 
and  Kinema  Club. 
’Phone:  Regent  2131. 
Photo  by  Navana. 


FRED  WRIGHT. 

The  Crazy  Hunchback 
in  the  colour  film 
“The  Glorious  Adventure,” 
Covent  Garden  Theatre. 
THE  COPSE, 

WEST  DRAYTON 
’Phone ;  Yiewsley  82,  or 
Kinema  Club. 


EVELYN  BRENT 

Latest  Productions, 

“  Demos,”  “  Sonia,” 

“  Laughter  and  Tears,”  etc. 
At  present,  Famous  P.-L. 

Bus.  Corns.,  Sidney  Jay, 
Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av. ,  W.i 
Regent  4329. 


GORDON  HOPK1RK 

Leads— Ideal:  ‘Sybil,’  ‘Ernest 
Maltravers  ’  Direct:  ‘l  our 
MeninaVan.’  Masters  :‘Fra 
Diavolo,”  Bride  of  Lammer- 
moor,’  ‘Faust,’  ‘  Maritana,’ 
‘Jane  Shore.’  ‘Stella’: 
P.  &  B  ‘Settled  in  Full.’ 
B.  &  C  :  ‘The  Queen's  Secret.’ 
Artistic:  ‘The  Skipper’s 

VVooing  ’  Address: 

School  House,  Tower  Street, 
W.C  2,  or  Kinema  Club. 


MARY  ODETTE 

Just  concluded  :  “  The  Faith¬ 
ful  Heart”  and  “Windows  ” 
(Comedy  Theatre) 
Latest  Releases  : 

“Wonderful  Year,’’ 

“All  Roads  Lead  tc  Calvary.” 
All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  ,Av.,  W.i 
Regent  4329. 


GORDON  BEGG 

Dramatic — ’Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.  11, 

Telephone  :  Battersea  21. 


WARREN 

HASTINGS 

5,  POND  PLACE 
CHELSEA 
S.W.3. 


ROSINA 

WRIGHT, 

Famous-Lasky,  Stoll,  Lon¬ 
don,  Sainuelson,  Davidson, 
Ideal,  Broadwest,  etc. 

7  years  Film  Experience. 

8a,  GOLDERS  WAY. 
GOLDERS  GREEN, N.W  11 
or  Kinema  Club. 


F.  C  R  E  M  L  I  N  . 

5  Montem  Road,  Forest  Hill,  S.E. 23,  or  Kinema  Club 


ARTISTES 


FLORENCE  INGRAM 

90a,  LEXHAM  GARDENS, 
KENSINGTON,  W.8 
West  4519.  ■ 

British  Super  Productions, 
Davidson  ;  Beacon  Films, 
Daisy  Productions,  “Mrs. 
Stanton”  second  lead  in 
“ Gypsy  Blood.” 

GEORGE  KEENE 

Star  Lead.  Disengaged. 
Featuring — “  Black  Sheep," 
“Through  Stormy  Waters,” 

“  Nothing  Else  Matters,” 

“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 

Address  : 

121b,  Church  St.,  Croydon 
’Phone  :  Croydon  835. 

A  •" 

JM,  -  '  **V- 

DAISY  BURRELL 

Just  finished  plaving  lead  in 
‘  ‘  Cinderella  ’’  panto. 

Last  Film  :  Star  part  in 
“  Pride  of  the  Fancy.  ’ 

OPEN  TO  O  FFERS. 
39,  Avonnr're  Road, 

West  Kensington. 
’Phone  :  Western  675. 

THIS  SPACE 

TO  LET 

£3  for  13  insertions, 
including  cost  cf 
making  block. 

PHOTO 

BLOCK 

m 

LILIAN 

HALL  DAVIS. 

JUVENILE  LEADS. 
Samuelson,  Ideal,  Gra- 
j  ham  Wilcox,  etc.,  etc. 

|  All  corns.  : 

Worton  Hall, 

1  Isleworth,  Middlesex 

THELMA 

MURRAY 

Character  &  Emotional  narts 
Just  finished  work  in  “Crea¬ 
tion”  for  Raleigh  King  Films, 
now  playing  lead  for  Masters. 
All  coins  :  “LYN"ALE  ” 
OAKLEY  RD. 
WHYTELEAFE,  SURREY, 
or  to  the  Kinema  Club. 


DOUGLAS  WEBSTER 

Juvenile  Character  Leads, 
ttage  Experience. 

J  st  completed  “Leroy 
Lindsay”  in  “Shifting  Sands'’ 
(Granville  Productions). 
All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av. 
’Phono  :  Regent  4329. 


MARGARET 

HOPE, 

Character  &  Juvenile  Leads. 

Late  Ideal,  Masters,  Stolls, 
etc.,  etc. 

42,  Blandford  Square, 
Marylebone,  N.W.l. 
Phone:  Padd.  7211. 


ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 

Character  Parts,  “  Mrs.  Gatty,”  in  “Christie 
Johnstone  ’’  (Broadwest),  “  Margaret  Howe’’ 
in  “  Beside  the  Bonny  Brier  Bush  ”  (Lasky). 

55.  Campden  St.,  Kensington,  W.8. 

Tel.  :  Park  3623. 


HETTY  CHAPMAN 

Character  and  Comedy. 

18,  WYMERING  MANSIONS, 

MAIDA  VALE,  W. 


A  R  T  I  S  T  E  S 


HUGH  MILLER 


MILLMAN 

W.C.l. 


ST., 


Telephone  : 
Gerrard  443  2 


ARTHUR  PUSEY 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagcon’’  for  I.V.T.A 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.I. 

CHARACTER 
,  ACTOR. 
INVITES  GOOD  OFFER.  Plus  or  minus  all 
(or  any  portion)  of  Nature’s  Beard  and  Moustache. 
Stoll,  Blackton,  Fox,  Alliance,  The  Windsor, 
Gaumont,  Samuelson,  Davidson,  Idea1,  Holmfirth. 
GONSIDERABLE  AND  VARIED  STAGE  EX¬ 
PERIENCE.  Address:  See  “  Who’s  Where.’’ 
’Phone :  Streatham  264. 


PAIGE 


CHARLES  LEVEY 

as  Captain  Gethng  in  the  Artistic  Production, 
The  Skipper’s  Wooing.” 

At  present  r  laying  “  Earl  Paget”  in  the  J.  Stuart 
Blackton  Production  “The  Virgin  Queen.” 
Address : 

“5,  STOKENCHURCH  ST.,  FULHAM,  S.W.6. 


MARIE  AULT, 

Character  and  Comedy. 

235,  Kings  Road,  Chelsea 

R.  LUCITA  SQUIER, 

Scenarios  and  Originals.  Five  year-  with  Marshal 
Neilon  Productions  “PENROD.” 

Address  :  44,  Great  Russell  Street.  London,  W.C. 2. 

MILTON  ROSMER 

INVITES  OFFERS. 

16,  Weymouth  Street,  W.i.  Phone:  Langham  2243 


CAMERAMEN.  .  .  . 

ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN— 

:  SCIENTIFIC  OUTFIT.  : 
Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  ctreet,  W.C. 2. 

’Phone — Regent  2131. 

E.  G.  EGROT 

EXPERT  CAMERAMAN. 

“The  Better  ’Ole,”  etc.,  etc . 

. “  The  Wonderful  Story. ’’ 

Offices  and  Dark  Rooms  : 

2b,  Slreatham  PI  ace,  S.W. 2. 

’Phone:  Streatham  3085. 

COSTUMIER.  .  .  . 


Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W, 

’Phene;  Gerrard  612. 


Established 

1896. 


JOHN  SALTER 

CAMERAS,  PROJECTORS, 

LOCAL  ITOPICALS, 

13,  Featherstone  Buildings,  Holborn,  W.C.l 
’Phone — Chancery  7408. 


October  21,  1922 


THE  MOTION  PICTURE  STUD.O 


SCENARISTS  „ 


GERALD  DE  BEAUREPAIRE. 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 


KIN  CHEN  WOOD, 

Late  Wm.  Fox  Studios,  Los  Angeles. 

7,  Wymering  Mansions,  Maida  Vale,  W.9. 


To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
SUPPLIED 


From  your  own  Photo,  in  best  glossy  style  : — 

Onq  position  17/6  per  gross. 

Two  positions  30/-  ,, 

Apply— 

PICTURES,  LTD.,  88,  Long  Acre,  W.C.2. 


THIS  SPACE  TO  LET 
£2  10  0  for  13  insertions 


TeiNT 

MS 

leichael 

&ERU«* 


in  Qctrrv*^ 


LEICHNERS 

WORLD 
RENOWNED 


George  K.  Arthur 
says : — • 

“  You  can’t  beat  it.” 


Obtainable  from  all  Chemists 
and  Theatrical  Costumiers 


If  any  difficulty  in  obtaining 
same  apply  direct  to 

Sole  British  Agents  : 

VANITiES  LTD., 
15a,  Whitcomb  St. 

(Off  Leicester  Sq.), 

W.C.2 


GREASE 
PAINTS 

&  POWDERS 


WHO’S 

Several  directors  have  explained  to  us 
tbe  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 


“  ’J'HE  mostusful  column,  to  my  mind, 
snd  one  which  I  would  like  to  see 
extended  to  embraeo  all  artistes,  is  ‘Who’s 
Wh  re.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.  ’  ’ — 
CHALLIS  N.  SANDERSON. 

“  T  PERSONALLY  would  like  to  see 
mere  artistes  using  \  our  s  ace  under 
the  heading  of  ‘  Who’s  Where.’  ”  — 

H.  B.  PARKINSON 

“  'T’HE  column  which  is  of  most  service 
to  us,  and  w  1  ich,  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  ”  — 
NORMAN  WALKER  (Cart.),  Alliance  Films. 


ATWOOD,  ALBAN:  25,  Stanley  Crescent, 
W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.n.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercoru  Place  N.W. 
Hampstead  3U83 . 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

CAREW,  JAMES,  15  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3904 

CHESNEY,  ELIZABETH:  do  Miss  M.rris, 
25,  Clevedon  Gardens,  W.2.  (F,at  4). 
Padd.  5844. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
Redcliffe  Gardens,  SAV.  10.  ’Phone: 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.i  1.  Park  2077. 

ESMOND,  ANNIE :  43,  Richmond  Road, 
Westbourne  Grove,  W.2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

FANE,  DOROTHY  :  12A,  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 

GRACE,  ADELAIDE,  103,  Morshead 
Mansions,  Maida  Vale,  W.  9. 

GRAFTON,  GEORGE  :  289,  Scott  Ellis 

Gardens.  St.  John’s  Wood,  N  W 
Paddington  6928. 

GREGORY,  FRANK,  Character ,  107,  St. 
Alban’s  Avenue,  W.4. 

HALLIDAY,  LENA,  14,  Fernwood  Avenue, 
Streatham,  S.W. 

HARRIS,  GEORGE,  22,  Bernard  Street, 
Russe  1  Square,  W.C.l.  Museum  3880. 

HASTINGS,  WARREN,  5,  Pond  Place, 
Chelsea,  S.W. 3.  Western  7160. 

HOWARD,  LIONELLE:  108,  Alderbrook 
Rout  Buham,  S  W.  2. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W. 5.  Western  1936 

LLEWELLYN,  EVA  :  39.  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 


WHERE. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers.  BuryS:,,  W.C.  Museum  7977 

NICHOL,  EMILIE  :  42,  St.  John's  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  ;  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

PAXTON,  SYDNEY  :  28,  Be  forJ  P!ace, 
Russe  1  Squa  e,  vV.C.  Museum,  7235. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell.  S.  E.5. 

RAYNER,  MINNIE:  Kirgwater  Cottage, 
Churc  Walk,  Thames  Ditton. 

ROME,  STEWART  :  io,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  32.  Lauderdale  Mans. 
Maida  Vale.  Maida  Vale  2177, 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  15,  Grove 
Mansions,  North  Side,  C  apham  C.  m- 
mo  1  12  Latctmere  4343. 

STEERMAN  A.  HARDING  :  56  Portland 
Road.  W.ix.  Park  2529. 

STERROLL,  GERTRUDE:  14.  Queens 
Road.  St.  John’s  Wood,  N.W. 8 

TEMPLETON,  BEATRIX:  20,  Foxgl  ve 
St  eec,  W  irnviolt  E  ta  e  W.  12. 

THATCHER,  GEORGE:  33,  Denbigh 
Stre  t,  Be'grave  Road,  S.W.  Victoria 
2060. 

TREE,  MADGE  :  15,  Lancaster  Court,  New- 
St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Road 
Barnes,  S.W.  13.  Putney  1945. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 

2131-  , 

WALCOTT,  ARTHUR:  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newpoit  St.  W.  2.  Regent  2131. 

Two  lines ,  12s.  6d.  per  thirteen  insertions, 
or  £ 2  5s.  for  a  year,  prepaid. 

Extra  lines,  is.  per  insertion. 


THIS  SPACE  TO  LET 
£2  10  0  for  13  insertions 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M  LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.I, 

’Phone :  Regent  4747 
or  Kinema  Club,  Regent  2131. 


KENELM  FOSS 

C jo  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 

NOW  BACK  IN  LONDON. 


3 


THE  MOTION  PICTURE  STUDIO  October  21,  1922 


AMERICA 
WANTS  TO 
KNOW  ABOUT 
BRITISH  FILMS 

And  ‘The  Motion  Picture  Studio’ 
IS  GOING  TO  TELL  THEM 


In  connection  with  our  “  Boost 
Britain  ”  Campaign  we  are 
- publishing  a  Special - 

BRITISH 

PROPAGANDA 

NUMBER 

which  we  are  circulating  at 
our  expense  to  every  film  firm  in 
America  and  to  1,000  American 
newspapers  and  magazines. 


Ail  British  Films  that  have  gone  to  U.S  A. 
and  all  that  deserve  to  go  will  be 

SPECIALLY  BOOMED 


If  you  want  to  keep  your  name  before  the  British 
and  American  film  world  and  public  you  need  to 
reserve  space  in  this  issue  for  a  personal  advertisement 


OCT.  TWENTY-EIGHTH  IS  THE  DATE 

and  if  you  don't  want  personal  publicity 

DON’T  ’PHONE  GERRARD  9870 


October  21,  1922. 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93.  Long  Acre, 
London,  W.C.2. 


Vol.  2  No.  72 


Telegrams — 
Southernwood, 
Rand,  London. 

Telephone — 
Gerrard  9870. 


Oct.  21,  1922 


Stage  Stars  in  the  Studio. 

ULSEWHERE  in  this  issue  Madge 
^  Stuart  discusses  the  question  of 
the  introduction  of  stage  stars  to  the 
screen.  With  most  of  what  she  says  we 
are  in  entire  agreement,  but  we  are  not 
among  those  who  would  close  the  studio 
door  to  stage  artistes  simply  because  they 
are  stage  artistes.  As  a  matter  of  fact  we 
are  convinced  that  if  a  man  or  woman  has 
the  inborn  artistic  temperament,  a  talent 
for  histrionics  and  a  good  camera  face,  they 
w-ill  be  better  screen  artistes  if  they  have 
stage  training  and  experience  than  if  they 
had  not.  There  is  ample  proof  of  this  in 
many  of  the  films  that  are  shown.  Take 
the  cases  of  the  best  screen  artistes  in  any 
American,  Swedish,  Italian  or  British  film 
and  it  will  be  found  that  99  per  cent,  have 
migrated  from  the  stage.  Take  the  case 
of  “  The  Crimson  Circle.”  In  our  opinion 
the  three  most  polished  performances 
were  submitted  by  the  three  stage-and- 
screen  artistes,  Sidney  Paxton,  Clifton 
Boyne,  and  Eva  Moore.  There  is  no 
coincidence  in  these  facts  ;  it  is  an  exhi¬ 
bition  of  the  working  of  the  law  of  cause 
and  effect. 

*  *  * 

Stage  Training  for  the  Screen. 
/^ERTAINLY  Miss  Stuart  is  fully 
justified  in  protesting  at  the  tend¬ 
ency  to  introduce  big  stage  stars  simply 
for  the  value  of  their  names.  We  can 
recall  instances  of  this  practice  where  the 
big  stage  stars  have  been  abject  screen 
failures.  Miss  Stuart  does  not  argue  that 
stage  training  is  a  handicap  to  film  acting, 
and  we  agree  with  her  in  so  refraining. 
For,  everything  else  being  equal,  stage 
training,  instead  of  being  a  handicap,  is  a 
great  asset  in  film  acting.  We  can  see,  in 
the  future,  that  the  connection  between 
stage  and  studio  will  become  more  and 
more  pronounced.  The  interchange  of 
artistes  from  the  two  branches  will  ensure 
this.  And  this  will  be  all  to  the  good.  It 
will  assist  materially  to  raise  the  standard 
of  screen  acting.  It  will  also  contribute 
more  to  the  star  system,  which,  for  the 
moment,  is  the  policy  that  can  do  much  to 
popularise  British  films. 

*  *  * 

The  Actors'  Association. 

IN  fact,  we  are  not  absolutely  convinced 
*  that  it  would  not  be  the  most  expedient 
course  at  the  moment  if  the  recognised 
screen  artistes  were  mobilised  and 
organised  into  a  protective  body  within  the 
compass  of  the  Actors’  Association.  There 
has  been  a  great  deal  of  hot-air  wasted 


over  this  question,  but  theories  that  cannot 
be  brought  four-square  with  actual  con¬ 
crete  facts  are  a  mental  stumbling-block. 
There  is  a  sense  in  which  the  ideal  organisa¬ 
tion  is  a  self-contained  and  independent 
Film  Artistes’  Federation.  But  with  the 
actual  circumstances  of  professional  life 
being  what  they  are,  we  are  inclined  to  the 
view  that  this  Film  Artistes’  Federation 
should  be,  for  the  time  being,  a  branch  of 
an  existing  organisation.  And  it  is  per¬ 
fectly  obvious  that  this  organisation  should 
be  the  Actors’  Association,  if  only  for  the 
fact  that  in  the  past  the  A.A.  has  fought 
the  battles  of  many  screen  artistes — 
Arthur  Walcott’s  case  with  Pathe  and 
Flora  Le  Breton  with  Ideal  are  two  such 
that  come  to  mind.  The  most  important 
and  vital  fact  that  has  to  be  faced  right  now 
is  that — such  are  the  existing  evils  in  the 
profession — film  artistes  stand  in  urgent 
need  of  immediate  organisation  to  protect 
their  own  interests  and  safeguard  their  own 
rights.  The  forming  of  an  independent 
organisation  immediately  is  an  impossi¬ 
bility  ;  the  A.A.  is  the  only  alternative. 

*  *  * 

Miss  Talmadge  s  Letter. 

''"THERE  is  not  so  much  need  for 
comment  on  the  Talmadge  letter 
as  we  had  anticipated.  Any  reader  with 
average  intelligence  will  see  the  obvious 
in  this  letter  which  merely  establishes  the 
fact  that  we  had  suggested  :  that  the 
stunt  is  purely  exploitation.  Miss  Tal¬ 
madge  says  that  this  should  teach  us 
“  how  to  make  exploitation  the  foundation 
of  production  prosperity.”  We  agree 
that  exploitation  is  essential,  but  not 
soulless,  conscienceless  exploitation  :  the 
kind  of  business  that  entices  tens  of 
thousands  of  unsophisticated  girls  to  go 
to  considerable  trouble  in  the  hopes — 
dangled  tantahsmgly  before  their  envious 
eyes — of  becoming  the  ”  British  Screen 
Queen,”  is  to  our  mind  the  worst  kind  of 

American  sensationalism. 

*  *  * 

Twisted  Inference.'' 

T  ET  us  take  Miss  Talmadge’s  letter 
■Ll  in  detail,  by  first  denying  either 
that  we  under-estimate  everything 
American  or  that  the  premises  on  which 
our  comments  are  based  are  false  :  at 
a‘y  rate,  her  letter  does  nothing  to  prove 
their  falsity.  We  would  also  like  to 
know  who  it  was  that  “  invited  ”  her  to 
work  this  stunt — was  it  the  Daily  Sketch 
or  First  National  ?  The  false  premise  she 
attributes  to  us  is,  we  gather,  that  she  has 
overlooked  the  “  British  artistes  of  the 


screen  who  are  starving  ”  in  order  to  take 
some  unfledged  screenstruck  to  put  her 
into  her  films.  “  It  is  this  twisted  in¬ 
ference  to  which  I  so  strongly  object. 

I  do  not  need  a  new  member  of  my 
Company.  I  am  not  seeking  to  employ 
anyone.”  But  let  us  examine  this 
”  twisted  inference.”  If  Miss  Talmadge 
denies  that  she  is  seeking  to  employ 
anyone  we  refer  her  to  the  details  of  the 
competition  in  the  Daily  Sketch.  In 
that  paper  of  October  11th,  it  says 
“  Norma  Talmadge  ...  is  making  ready 
in  picturesque  Barbary  for  her  next 
great  film,  and  her  mind  is  full  of  the 
pretty  Briton  who  is  to  act  by  her  side. 
And  the  day  before  it  said,  ”  Miss 
Talmadge  ...  is  now  touring  in  North¬ 
ern  Africa  ,  where  Mr.  Schenck  ”  (her 
director)  “  plans  to  take  some  of  the  scenes 
in  a  forthcoming  film  play  in  which  Miss 
Norma  and,  if  she  is  ready  in  time,  the 
Daily  Sketch  girl  will  appear.”  In  the 
October  9th  issue  was  the  following  : 
”...  Joseph  Schenck  “  (Norma  s 
husband)  ”  the  great  American  director 
who  makes  the  Talmadge  pictures  and 
who  already  has  a  production  awaiting 
the  Daily  Sketch  girl.”  All  of  which  is 
ample  to  prove  that  we  were  right  in  our 
assumption  that  Miss  Talmadge  is  looking 
for  a  girl  to  act  with  her.  And  in  view 
of  Miss  Talmadge’s  statement  that  she 
does  ”  not  need  a  new  member  of  my 
company  ....  not  seeking  to  employ 
anyone,”  we  deny  the  ”  twisted  inference 
or  that  we  have  ”  misrepresented. 


An  Oblique  Insult. 

CO  that  on  Miss  Talmadge’s  own 
showing  (which  is  different  from  the 
Daily  Sketch's  statements)  the  girl  will 
only  be  trained  for  film  work  and,  if  she 
succeeds,  shipped  back  to  this  country. 
In  other  words  she  is  to  be  the  victur 
of  an  exp  loitation  stunt  in  keeping  with 
Miss  Talmadge’s  belief  that  if  we  wisely 
exploited  our  capable  stars  we  would 
benefit  as  the  Americans  benefit  when 
their  stars  are  exploited.  We  tell  Miss 
Talmadge  quite  plainly  that  we  detest 
these  American  publicity  methods  here 
in  this  country  and  protest  against  the 
oblique  insult  to  British  screen  artistes 
contained  in  the  invitation  to  the^  typists 
and  shop-girls  to  become  the  British 
Screen  Queen  that  evidently  Miss 
Talmadge  thinks  our  present  artistes 
are  incapable  of  becoming. 


5 


THE  MOTION  PICTURE  STUDIO 


October  21,  1922 


PLUSH-CHAIR  POINTS 

OF  VIEW 

Christabel  Lowndes-Yates  Voices  the  Criticism  of  the 

Picturegoer 


SPHERE  are,  unfortunately,  plenty  of 
people  who  do  not  go  to  the  pictures 
these  clays,  and  sad  to  say  their  number 
is  increasing.  A  collection  \jf  their  reasons 
for  no  longer  being  devotees  is  interesting 
because  it  throws  light  on  the  elusive  pro¬ 
blem  of  “What  thejiublic  wants.” 

In  a  discussion  deliberately  raised  the 
other  day  in  an  hotel  lounge,  the  debaters 
were  principally  men,  and  the  universal 
verdict  seemed  to  be  that  they  were  “ sick 
of  foreign  films,  so  many  of  which  seemed 
to  revolve  round  one  plot — sex.  If  there 
were  more  English  films  put  on,  with 
simple  English  stones,  there  would  be 
more  seats  filled  at  the  kinemas.” 

The  second  opinion  came  from  a  group 
of  people  talking  in  the  crowd  as  they 
came  out  from  seeing  a  super-film  at 
Covent  Garden.  This  is  worth  repeating, 
because  1  have  heard  it  over  and  over 
again  by  other  crowds  coming  out  of 
ordinary  kinemas.  “I  couldn’t  see  the 
sub-titles,  could  you?”  one  pretty  woman 
said.  “You  can’t  enjoy  the  pictures 
much  when  you  don’t  know  what  it’s 
all  about.” 

Several  people  joined  in  here,  and  it 
was  obvious  that  to  many  people  the  sub¬ 
titles  were  unintelligible.  I  have  heard 
that  comment  so  repeatedly  that  I  am 
quite  sure  directors  do  not  realise  the 
importance,  in  these  days  of 

(1)  As  few  sub-titles  as  possible, 

(2)  That  those  sub-titles  which  are 
essential  should  be  in  large,  clear  type, 
visible  all  over  the  theatre  (and  not  only 
from  the  expensive  seats),  and 

(3)  That  there  should  not  be  too  many 
words  on  the  screen  at  once. 

I  have  seen,  even  recently,  sub-titles 
that  flicker,  sub-titles  that  were  faintly 
written  over  painted  back-grounds,  sub¬ 
titles  that  were  in  such  decorative  letter¬ 
ing  that  even  the  trained  artist  could 
hardly  read  them,  and  last,  but  by  no 
means  least,  sub-titles  that  were  flashed 
on  and  off  the  screen  with  such  rapidity 
that  four  to  six  words  were  all  the  bulk  of 
the  audience  understood  out  of  a  thirty- 
word  message. 

It  is  quite  obvious  that  directors  have 
no  notion  of  the  slowness  of  the  brains  of 
the  public,  for  in  one  case  at  least,  even 
the  director’s  name  was  flashed  on  and  off 
again  so  quickly  that  I  heard  a  woman 
say:  “What  was  that?  I  couldn’t  read 
it,  could  you?”  And  the  reply  was,  “Oh, 
it  was  nothing  that  mattered.  Only  the 
name  of  the  director  1  ” 

The  most  perfect  examples  of  sub¬ 
titling  it  has  been  my  lot  to  see  recently, 
were  those  in  the  “Secrets  of  Nature” 
films,  Trade  shown  last  week.  Every  one 
of  them  raised  some  emotion,  interest, 
laughter,  suspense,  and  so  on. 

Far  the  next  best  to  my  way  of  thinking 
were  those  in  Lydia  Hayward’s  masterly 
adaption  of  W.  W.  Jacob’s  story,  “The 
Skipper’s  Wooing.”  Though  each  one 
was  perfect,  there  were  far  too  many  of 
them.  A  kinema  audience  does  not  go  to 


the  films  to  read.  The  soothing  effect  of 
a  picture  -is  spoilt,  by  having  constantly 
to  switch  their  minds  from  the  action  of 
seeing  to  that  of  reading.  Continuity  (in 
more  senses  than  one)  is  what  they  want. 
If  they  do  not  get  it  at  the  pictures,  they 
will  seek  it  elsewhere. 

The  last  excuse  these  anti-kinema 
people  give  is  one  that  is  beginning  to 
attract  the  attention  of  all  directors. 

Many  mothers  are  saying  that  the  con¬ 
stant  shifting  of  the  camera  view  is  bad 


HEART  REVIVERS 

by  WILLIAM  DELLTRE 

IF  you  strike  a  thorn  or  rose, 
Keep-a-going. 

If  it  hails  or  if  it  snows, 

Kee'p-a-going. 

’Tain’t  no  use  to  sit  and  whine 
If  you’ve  no  fish  on  your  line — 

Bait  your  hook  and*  k.&eP  a-trying. 
Keep-a-going. 

IF  the.  weather  kills  your  crop, 
Keep-a-going. 

And  when  you  tumble  from  the  top, 
Keep-a-going. 

Suppose  you’re  out  sampling  wine, 

Getting  broke  ain’t  any  crime— 

Tell  tire  world  your  feeling  fine. 
Keep-a-going , 

A  ND  when  it  looks  that  all  is  up, 
Keep-a-going. 

Drink  the  sweetness  from  the  cup, 
Keep-a-going . 

See  the  wild  birds  on  the  wing, 

Hear  the  bells  that  sweetly  ring, 

And  when  you  feel  like  sighing — SING. 
Keep-a-going , 


for  the  children’s  sight,  and  that  is  a 
criticism  that  most  people  would  find  to 
be  true.  About  a  year  ago  I  went  to  see 
a  famous  American  star  in  a  play.  The 
audience  clustering  round  the  box  office 
appeared  deeply  in  love  with  her,  but  com¬ 
ing  out  they  were  a  tired  and  dispirited 
crowd.  Why?  The  picture  had  been  fully 
up  to  the  average  one  expects  of  American 
productions,  but  I  dare  venture  to  assert 
that  few  people  left  that  Kinema  without 
a  headache.  We  had  general  views — 
close-ups,  general  views,  close-ups,  alter¬ 
nating  through  five  or  six  reels.  The 
eyes  were  constantly  refocussing  from  the 
enormous  faces  in  the  close-ups  back  to' 
the  normal  size  view. 

Let  those  people  whose  duty  it  is  to 
provide  the  public  with  what  it  wants, 
mix  sometimes  with  the  lay  crowds 
coming  out  of  kinemas  and  hear  their 
comments.  Let  them  listen  to  the  men 
and  women  who  complain  of  headaches, 
and  cannot  see  unclear  sub-titles. 

Remember  the  public  regard  films  as  an 
amusement  and  a  rest.  Those  who  come 
out  with  a  headache  will  not  be  eager  to 
go  again,  and  in  this  -industry,  above  all, 
we  want  a  satisfied  public.  Honestly,  that 
is  the  only  way  to  real  success. 


TOLSTOY  FOR 
SCENARISTS 

by  “  LAUGHS  AND  TEARS  ” 

FTER  reading  my  letter  in  “  Parlia¬ 
ment  ”  in  the  last  issue  of  the  The 
Motion  Picture  Studio,  I  desire  once 
more  to  add  a  quotation  from  L.  Tolstoy, 
and  by  this  I  do  not  mean  that  I  try  to 
impress  in  anybody’s  mind  that  we  ought 
all  to  imitate  L.  Tolstoy  in  his  ideals.  No; 
unfortunately  we  live  in  a  period  far  too 
materialistic;  we  have  to  pay  even  for  the 
air  we  breathe.  I  refer  only  to  the  merits 
of  Art  in  itself.  Nor  do  I  suggest  or  in¬ 
sinuate  that  we  should  worship  Tolstoy. 
Far  from  it.  He  is  still  much  criticised 
and  marked  as  a  mystic  and  a  maniac..  But 
his  definition,  his  analysis  of  art,  is  simply 
wonderful  when  he  says: — 

“  Art  of  the  future— that  is  to  say,  such 
part  of  art  as  will  be  chosen  from  among 
all  the  art  diffused  among  mankind— will 
consist  not  in  transmitting  feelings  ac¬ 
cessible  only  to  members  of  the  rich 
classes,  as  is  the  case  to-day,  but  in  trans¬ 
mitting  such  feelings  as  embody  the 
highest  human  perceptions  of  our  times. 

.  .  .  Only  those  productions  will  be  con¬ 
sidered  Art  which  transmit  feelings  draw¬ 
ing  men  together  in  brotherly  union,  -  or 
such  universal  feelings  as  can  unite  all 
men.  Only  such  Art  will  be  chosen,  tole¬ 
rated,  approved  and  diffused.  .  .  .  And 
such  feeling  can  only  be  engendered  in  a 
man  when  he  is  living  on  all  its  sides  the 
life  natural  and  proper  to  mankind. 

“  The  artist  of  the  future  will  live  the 
common  life  of  man,  earning  his  sub¬ 
sistence  by  some  kind  of  labour.  The 
fruit  of  that  highest  spiritual  strength 
which  passes  through  him  he  will  try  to 
share  with  the  greatest  possible  number 
of  people,  for  in  such  transmission  to 
others  of  the  feelings  that  have  arisen  in 
him  he  will  find  his  happiness  and  his 
reward.  The  artist  of  the  future  will  be 
able  to  understand  how  an  artist,  whose 
chief  delight  is  in  the  wide  diffusion  of 
his  works,  could  give  them  in  exchange  for 
a  certain  payment. 

“  Until  the  dealers  are  driven  out  the 
Temple  of  Art  will  not  be  a  temple.  But 
the  Art  of  the  future  will  drive  them  out.” 
Tolstoy  is  quite  right  there.  But  on  close 
study  we  find  that  up  to  a  certain  point  his 
ideal  is  unworkable  in  our  branch  of  Art 
as  we  understand  it — the  photo-play.  We 
find  that,  though  it  would  be  ideal  as  a 
medium  to  transmit  to  all  other  men  feel¬ 
ings  that  would  improve  their  standard  of 
education,  their  sentiments,  their  whole  con¬ 
duct  of  existence,  and  make  them  better,  we 
could  not  completely  carry  theseideals  to  suc¬ 
cess — our  mediums,  our  methods  of  produc¬ 
tion  are  far  too  expensive,  and  all  those  who 
are  in  the  Industry,  from  top  to  bottom, 
are  far  more  than  idealists- — financial  pup¬ 
pets  some  of  them,  heart  and  soul  out  for 
wealth.  We  have  classified  the  product  of 
thought  to  a  commercial  routine,  out  of 
which  we  endeavour  to  satisfy  that  animal 
instinct  innate  in  human  beings. 


PASSED 

The  British  Board  of  Film  Censors 
has,  during  the  p-ast  few  days  passed  the 
following  British  films  : — 

“  Rob  Rov  ” — Gaumont — 6,095 — T. 

“Squibs  Wins  the  Calcutta  Sweep  ” — 
Jury— 5,250— U. 

“  Crimson  Circle  ’’—Granger— 5,378 — A. 

“Experiment  ” — Stoll — 4,990 — U. 

“Fires  of  Innocence  ”■ — 'Butcher’s- -4, 700 
-U. 

‘  Lost  Leader,  A” — Stoll — 5,800  — U. 

“  Tell  Your  Children  ” — Gaumont — 5,532 
— A. 

Films  marked  “  U  ”  are  for  Universal 
exhibition  and  those  marked  “A”  are 
recommended  for  Adults  only. 


6 


October  21,  1922 


THE  MOTION  PICTURE  STUDIO 


Intima'ie  Studio 


i 

Qossip 


Jn  a  moment  of  desperation  I  went 
to  a  kinema  lasit  night  and  had  a 
pleasant  surprise.  There  on  the  screen 
was  Peggy  Hyland  in  some  delightful 
at-home  scenes  with  some  of  her  pets. 


In  connection  with  our  Publicity 
Campaign  for  British  Films  the  next 
issue  will  be  a  British  Propaganda 
Number  for  America.  It  will  be 
devoted  to  the  various  aspects  of  the 
British  Industry,  and  will  give  special 
prominence  to  those  British  films 
that  have  gone  to  America  and  those 
that  deserve  to  go  It  will  be  circula¬ 
ted  to  every  film  firm  in  America  and 
to  1,C00  American  newspapers  and 
magazines-  All  its  contents  will  be 
free  of  copyright  so  that  the  Ameri¬ 
can  journals  can  quote  is,  from  its 
columns  freely.  This  will  be  un  que 
publicity.  Every  person  associaied 
with  the  Industry  should  get  in  on 
this  quickly.  See  page  fouv. 


These  were  part  of  the  latest  issue  of 
“  Around  the  T  own.  Was  glad!  to 
see  that  British  film  stars  are  not  over¬ 
looked  by  this  excellent  interest  film. 

’T  he  re  is  some  talk  of  Elinor  Glynn 
taking  up  film  directing  for  a 
British  company.  At  least  she  admits 
that  ambition  in  a  letter  written  to  one 
of  the  Goldwyn  chiefs.  It  would  be 
something  of  a  novelty  to  have  a 
woman  director. 

I  recently  spoke  of  a  rumour  to  the 
effect  that  Seymour  Hicks  was 
thinking  of  turning  U>  film  work.  I 
can  now  confirm  this.  He  has  con¬ 
tracted  to  turn  out  a  dozen  two-reelers 
at  the  rate  of  one  a  month .  Ellaline 
Terris, s  will  he  his  leading  lady.  Well, 
there  is  a  dearth  of  good  screen 
comedy,  and  if  Seymour  Hicks  is  as 
funny  before  1  hie  camera  as  before  the 
footlights,  nis  contribution  will  be  very 
welcome. 

Recently  I  told  of  Walter  West’s 
search  for  an  actor  to  play  the 
blacksmith  in  “Hornet’s  Nest,”  and  as 
a  result,  I  learn,  F.  Lewis  Gilbert  has 
got  the  part.  For* 1  some  days  hei  has 
been  learning  the  trade,  as  he  has  to 
make  a  complete  horseshoe  in  one  of 
the  scenes. 

Bert  Wynne  tells  me  that  the  first 
time  he  saw'  portraits  of  Doris  Eaton 
in  America,  he  decided  to  endeavour 
to  persuade  her  to  appear  in  his  pic¬ 
tures,  and  finally  he  succeeded  in 
coaxing-  her  to  come  to  England  and 


DORIS  EATON 

play  the  role  of  the  heroine  in  his 
film,  “  The  Call  of  the  East,”  opposite 
Walter  Tennyson,  and  that  Miss 
Eaton  has  succeeded  in  this  Bert 
Wynne  production  can  be  said  with 
certainty.  It  is  an  interesting  iact, 
that  though  Miss  Eaton  is  one  of 
America’s  most  noted  beauties,  she 
makes  her  debut  as  a  screen  artiste  in 
a  British  film.  Her  work  with  Mr. 
Wynne  is  the  second  that  she  has  done 
for  the  screen.  All  her  admirers  in 
America  (will  watch  for  this  picture 
with  keen  interest.  Miss  Eaton  plays 
this  youthful  heroine  with  much 
appeal  and  delightful  simplicity.  The 


poignant  note  of  the  character  is  very 
well  expressed  by  her,  and  not  lur  a 
moment  is  there  ever  any  over-em¬ 
phasis  in  a  role  that  calls  for  a  wide 
variety  of  expression. 


Last  week's  issue  of  the  MOTION 
PICTURE  STUDIO  was  ccm- 
pletely  said  out  before  Monday 
evening.  This  meant  that  we 
were  unable  to  supply  many 
casual  customers  who  are  unwise 
enough  to  “trust  to  luck."  The 
only  sure  way  of  getting  this 
journal  is  to  be  a  regu’ar  sub¬ 
scriber*  It  will  be  posted  to  you 
every  week  for  three  months 
for  Half-a-Crown. 


Ran  inlto  Geoffrey  Malins  at  the  Club 
this  week.  He’s  had  a  rare  bad 
time  and  was  in  hospital  suffering 
from  the  effects  of  the  exposure.  But 
he’s  looking  fairly  fit,  now.  Especi¬ 
ally  in  view  of  tthe  fact  that  a  few 
weeks  ago,  when  he  was  missing,  and 
the  worst  was  feared,  I  wrote  his 
obituary  notice,  and  had  it  set  up  in 
type.  Hope  I’ll  not  have  to  use  it 
before  he’s  taken  his  old  age  pension 


THE  MOTION  PICTURE  STUDIO 


October  21,  192 


Readers  in  Council  on  Film  Matters  of  Interest 


Scenarios 


sions,  weaknesses,  heroisms  and  failures, 
through  the  medium  of  a  mechanical 


on  the  play  of  mind  upon  mind. 

Plays  written  especially  for  the  film  have 
met  with  far  greater  success.  Take  Conrad’s 
“Victory,”  for  instance.  We  get  the  bare 
hones  of  the  masterpiece  without  its  flesh, 
blood  or  spirit. 

The  film  cannot  interpret  things  beyond 
its  .scope.  When  it  tries  it  languishes 
in  banality.  Directors  place  barriers  on  the 
lines  of  its  natural  development  when  they 
fall  back  on  the  novel. 

The  film,  though  it  may  be  good  drama, 
lias  many  worlds  to  conquer  before  it  can 
reach  the  level  of  good  literature. — 
M.  R.  D.  C. 


in  America 

Mr.  Speaker, — That  is  certainly  a  good 
idea  to  suggest  printing  a  list  of  foreign 
producing  firms  in  these  pages.  1  have  had 
more  than  satisfaction  from  one  of  the 
biggest  film  companies  in  America,  and  the 
notion  should  be  carried  out  by  others  to 
enable  them  to  have  a  better  chance  of  sell¬ 
ing  their  scenarios,  and  in  no  case  allowed 
to  drop  through. 

I  should  think  one  stands  very  much  more 
hope  in  sending  a  scenario  to  the  United 
States  than  in  England,  for  the  simple 
reason  that  I  noticed  my  letter  came  from 
a  “Scenario  Department,”  whereas  letters 
from  British  companies  only  bear  the  ordi¬ 
nary  letter  paper  with  no  mention  that  it 
has  been  considered  by  any  special  depart¬ 
ment  or  person. 

Although  companies  like  Goldwyn,  Fox, 
Vitagraph,  etc.,  deal  with  more  scenarios 
than  even  the  biggest  British  film  company, 
1  should  think  it  is  about  time  that  our  own 
film  manufacturers  thought  more  about  the 
scenarios  than  letting  the  typists  read  them 
between  lunch  hour. 

There  are  several  scenarists  who  would 
stand  a  chance  across  the  pond,  and  I  am 
sure  no  one  would  begrudge  them  trying. — 
Arthur  Batten.. 

Fight 
for  Us ! 

Mr.  Speaker, — Referring  to  your  protest 
against  Miss  Xalmadge’s  publicity  stunt 
which  is  very  unfair  to  British  artistes,  I 
am  pleased  to  see  that  we  have  The  Motion 
Picture  Studio  to  look  upon  to  fight  this 
out  for  us,  and  am  sure  every  artiste  who 
lias  his  or  her  profession  at  heart  will  give, 
you  full  support.  Wishing  you  every  suc¬ 
cess  in  your  efforts — Ai.ec  Alexander. 
jun. 

Small 

Investors 

Mr.  Speaker. — May  I,  as  a  small  inves¬ 
tor,  ask  if  The  Motton  Picture  Studio 
can  recommend  any  safe  film  company 
that  would  consider  a  shareholder  with  only 
a  limited  amount  of  capital  to  invest.  There 
have  been  several  suggestions  recently  in 
your  pages^Jhat  this  field  should  be  thrown 
open  to  the  man  who  has  saved  a  few 
pounds,  and  I  should  be  most  interested  to 
know  if  any  companies  have  taken  the  idea 
up. — “Small  Investor.” 

Limitations 
of  the  Screen 

Mr.  Speaker, — The  film  or  screen  drama 
is  rather  like  the  cat  that  squalls  at  night 
under  your  window.  You  raise  the  sash,  you 
fling  boots  and  water  at  it,  you  objurgate, 
you  implore,  but  puss  sits  on,  imperturb¬ 
able,  intent. 

It  is  a  babe  among  the  arts,  and  not  yet 
quite  an  art,  for  it  has  not  found  Art’s 
magnificent  freedom — a  babe  in  swaddling 
clothes,  conventionalised  and  limited,  yet 
when  you  come  to  consider  it,  wonderful, 
because  it  presents  human  emotions,  pas- 


device. 

Emotions  it  can  portray,  but  only  in  their 
most  primitive  form.  Subtlety  there  is  little 
or  none. 

The  novel  whose  interest  lies  in  psycho¬ 
logy,  and  not  in  action  is  wholly  unsuited 
tor  the  purposes  of  the  film.  No  doubt  its 


LAST  WE  EK 

the  **  Motion  Picture  Studio  ’’  was 

SOLD  OUT 

by  Monday  afternoon. — Verb  sap . 


'.liability  to  reproduce  the  finer  shades  of 
thought  and  of  feeling  will  one  day  be  over¬ 
come,  but  until  then  it  is  idle  to  hope  that 
anything  like  measurable  justice  can  be 
done  to  books  whose  theme  depends  on  the 
development  and  analysis  of  character  or 


TALMADGE 


{ Continued  fictn 
opposite  page) 


plished  and  of  commanding  importance,  she 
will  be  able  to  exert  an  influence  upon  your 
production  activities  here  which  should 
materially  alleviate  the  situation  which,  you 
say,  has  resulted  in  the  deplorable  uneu. 
ployment  of  so  many  worthy  artistes.  You 
will  have  learned  through  her  rise  to  fame 
how  to  make  exploitation  the  foundation 
of  production  prosperity.  I  promise  you,  as 
others  fully  understand,  that  my  protegee 
is  to  be  exploited  only  for  herself  and  lor 
you.  When  she  is  ready  to  walk  alone  l 
shall  give  her,  and  her  tremendous  worth, 
to  Great  Britain. 

You  have  spoken  bitterly  of  the  state¬ 
ment  that  I  would  expend  upon  her 
£200,000;  yourself  adding  the  reference  to 
the  need  of  such  expenditures  in  your  own 
film  world.  Did  jou  deliberately  miscon¬ 
strue?  If  you  did,  was  it  fair  to  your 
readers?  Do  you  profess  not  to  know  the 
cost  of  films  such  as  those  Mr.  Schenck  pro¬ 
duces?  And  what  of  the  added  cost  of 
taking  my  protegee  with  her  chaperon,  to 
America;  through  clramatic  school  if  neces¬ 
sary;  through  a  long  period  of  studio  train¬ 
ing,  etc.,  etc.? 

I  believe  if  you  properly  exploited  your 
own  worthy  productions ;  if  you  wisely  adver¬ 
tised  your  capable  stars;  if  you  got  closer 
to  your  public,  you  would  benefit  as  we  did 
in  America  when  we  destroyed  traditions  of 
our  own  early  film  days  and  began  translat¬ 
ing  on  the  screen  the  impulses  and  moods 
of  the  public  itself.*  This  belief  is  the 
motive  behind  my  willingness  to  try  to  make 
a  successful  screen  artiste  of  one  of  your 
girls.  She  can  learn  all  that  America  has 
learned,  and  if  I  can  teach  her  a  part  of 
this  knowledge  she  can  gather  the  re¬ 
mainder  from  others  who  will  be  interested 
in  her.  If  she  returns  to  you  with  know¬ 
ledge  that  you  find  beneficial  to  the  British 
film  Industry,  I  shall  feel  that  I  will  have 
been  repaid  a  thousandfold.  I  would  like  to 
build  a  stronger  link  between  your  country 
and  mine,  and  hope  to  do  something  to  this 
end  through  the  Daily  Sketch  girl.  If  she 
and  I  succeed  she  will  be  the  means  of 
emphasising  the  demand  in  America  for 
good  British  artistes  and  films  which 
already  exists,  but  which  is  not  sufficiently 
catered  for  by  your  own  film  people.— 
Norma  Talmadge. 


Help  Artistes 
Now  | 

Mr.  Speaker. — May  I  put  forward  again 
a  suggestion  that  I  made  in  your  pages 
recently  with  regard  to  the  necessity  of  help¬ 
ing  our  fellow-professionals  who  are  hard 
hit  by  the  kinema  slump. 

There  are  many  theatrical  people  in  Lon¬ 
don  and  the  provinces,  now  playing  leading 
parts,  and  some  of  them  have  theatres  of 
their  own,  who  have  made  money  out  of 
playing  film  star  parts. 

Could  not  these  be  asked  by  a  committee 
to  put  on  one  extra  matinee  of  whatever 
play  they  are  running  at  the  moment,  the 
whole  of  the  proceeds  to  be  given  to  the 
Kinema  Club  Benevolent  Fund?  This 
would  entail  the  minimum  of  work  for  the 
stage  artistes  (,a  fact  not  always  remembered 
where  their  help  is  asked  for  charity),  and 
should,  in  the  event  of  a  good  list  of  patrons 
being  obtained,  bring  in  a  goed  sum. 

I  might  add  that  I  have  already  ap¬ 
proached  one  dramatic  organisation,  and 
asked  their  help  in  the  event  of  this  plan 
maturing,  and  received  an  encouraging  re¬ 
ply. — C.  Lowndes-Yates. 

[This  suggestion  fits  in  with  that  made  in 
this  journal'  last  week  by  Florence  Turner. 
It  now  rests  with  the  Entertainments  Com¬ 
mittee  as  to  whether  the  Club  should  run 
these  efforts  or  a  non-Club  organisation.] 

More  Help 
Offered.  1 

Mr.  Speaker, — If  the  scheme  re  dis¬ 
tressed  artistes  eventuates,  I  should  be 
pleased  to  place  my  services  at  the  disposal 
of  the  Committee  should  it  require  outside 
assistance. — Robson  Paige. 

Editor’s  Note. — This  is  representative  of 
scores  of  letters  received  on  this  matter. 

Helping 
the  Helpless 

Mr.  Speaker. — There  is  just  one  thing  I 
would  like  to  say,  if  you  will  allow  me,  and 
that  is — I  think  you  are  splendid  in  the  fine 
endeavour  to  help  those  who,  it  almost 
seems,  cannot  help  themselves.  Good  luck 
to  you. — Isabel  Thomson. 

An  Invitation 
to  Norma 

Mr.  Speaker.— It  is  absolutely  disgrace¬ 
ful  that  we,  in  this  country,  accept 
foreign  pictures  at  all;  particularly  those 
emanating  from  America.  If  it  is  detri¬ 
mental  to  the  British  Industry — and  I  say 
this  with  some  knowledge  of  the  Industry — 
then  even  if  it  means  temporarily  lower¬ 
ing  the  standard  of  enteitainment,  while 
we  have  British  artistes  starving,  we 
should  alter  this  state  of  affairs. 

I  wonder  if  Miss  Talmadge  remembers 
that  she  owes  her  success  largely  to  ;J. 
Stuart-Blackton  ?  I  suggest  that  she  does 
something  more  practical,  such  as  I  am 
sure  The  Motion  Picture  Studio  could 
formulate. — G.  E.  Lewis. 


8 


October  21,  1922 


THE  MOTION  PICTURE  STUD  I  0 


THE  TALMADGE  STUNT 


N'O  apology  is  necessary  for  returning  to 
the  Talmadge  stunt  again,  for  the 
position  has  now  become  more  clarified.  It 
is  now  established  that  the  scheme  to  find 
a  “  British  Screen  Queen  ”  is  really  a 
publicity  stunt  to  put  over  certain  American 
films.  This  scheme  has  to  be  read  in  con¬ 
junction  with  the  policy  (declared  during 
the  past  few  days)  of  Associated  First 
National,  which  is  to  offer  one  outstanding 
film  every  month  in  addition  to  its  usual 
output  of  program  features.  “  These  films 
are  to  be  shown  first  in  about  four  ‘  key  ’ 
theatres  in  London  for  as  iony  as  the  pub  Lie 
cares  to  support  them.  .  .  .  ‘  Smilin’ 

Through  ’  is  the  first.” 

Bearing  this  fact  in  mind,  the  publicity 
stunt  is  easily  understood.  It  is  merely  an 
exploitation  stunt  for  “  Smilin’  Through  ” — 
the  first  of  the  special-run  films.  Let  us 
quote  the  Daily  Sketch  (which  is  running 
the  stunt  as  a  circulation-raiser)  on  this 
point.  In  one  issue  it  stated  that  “  The 
interest  in  Miss  Talmadge’s  great  offer,  the 
natural  popularity  of  the  star  herself,  and 
the  general  success  of  ‘  Smilin’  Through,’ 
will  contribute  to  the  wave  of  enthusiasm 
that  is  stirring  the  girls  of  the  whole 
country.  Many  picture  theatres  are  helping 
candidates  by  offering  to  take  film  photo¬ 
graphs  of  them,  by  exhibiting  their  portraits 
in  theatre  vestibules,  and  by  arranging  com¬ 
mittees  or  audience  plebiscites  to  choose 
the  best  girls  of  trie  district  for  submission 
to  the  Daily  Sketch.” 

It  stated  that  one  of  these  kinemas  was 
the  Colchester  Hippodrome.  So  we  paid  a 
visit  to  Colchester.  And  this  is  what  we 
found.  The  front  of  the  building  was 
covered  with  a  huge  notice  : 

“  Daily  Sketch  Norma  Talmadge 
Competition. 

£100  Per  Week- 
‘  Smilin’  Through.’ 

Full  Details  Announced  from  the  Stage 
Each  Night. 

The  Film  of  the  Year—'  Smilin’  Through  ’ — 
Norma  Talmadge,” 

Further  than  this,  we  are  now  in  a 
position  to  state  that  Associated  First 
National  (which  handles  the  Talmadge 
films)  has  sent  out  a  circular  to  the  Trade 
boasting  that  the  Daily  Sketch  competition 
is  giving  pages  of  editorial  space  to  Norma 
Talmadge  and  “Smilin’  Through,”  and 
urging  exhibitors  to  take  the  fullest  advan¬ 
tage  of  this  free  publicity. 

In  another  issue  of  the  Daily  Sketch  last 
last  week  it  stated  that  on  Monday  there 
would  be  a  congress  of  the  competitors  at 
the  Shaftesbury  Pavilion,  and  “  the  manage¬ 
ment  of  the  Pavilion  asks  that  every  pretty 
girl  in  the  district  who  would  like  to  go 
to  America  with  Miss  Talmadge  should 
arrive  at  the  theatre  punctually  at  1.45.” 

We  went  along  to  the  Shaftesbury 
to  see  “the  prettiest  girls,  of  London 
gathered  to  be  filmed  in  connection  with 
the  Daily  Sketch  quest  of  a  girl  to  become 
the  pupil  of  Norma  Talmadge  and  a  future 
star  of  the  screen.” 

So  great  was  the  crush  that  the  traffic 
was  held  up. 

7  he  film  of  the  week  at  the  Shaftesbury 
is  “  Smilin’  Through,’’  and  this  Was  shown 
to  the  girls.  Also  the  film  of  these  girls  is 
to  be  shown  after  “  Smilin’  Through  ”  twice 
a  day. 

At  Manchester,  part  of  the  Daily  Sketch's 
scheme  is  a  competition  for  the  best  cos¬ 
tume  representing  Norma  Talmadge  in 
Smilin’  Through.” 

In  the  Daily  Sketch  we  read  that  there 
would  be  keen  interest  at  the  Blue  Halls, 
Hammersmith,  “  where  Wyndham  Standing, 
who,  as  John  Carteret,  plays  opposite  Miss 
Norma  Talmadge  in  ‘  Smilin’  Through,’  will 
a g pear  on  the  stage  and  tell  the  audiences 
all  about  the  Daily  Sketch  search  for  a  film 
star.” 

We  went  to  Hammersmith  and  heard  Mr. 
Standing  speak.  We  also  read  the  Daily 


EXPOSED 

Sketch  report  next  day,  which  made  him 
say  :  — 

“  I  wish  to  congratulate  all  British  girls 
upon  the  interest  Miss  Talmadge  has  taken 
in  them.  The  Daily  Sketch  efforts  to  find 
a  future  British  screen  star,  to  be  trained 
and  given  her  opportunity  by  Norma 
Talmadge,  are  startling  in  their  daring 
scope.  The  reward  is  almost  beyond  the 
imagination.  And  in  the  hands  of  Nornm 
and  Constance  Talmadge,  this  Daily  Sketch 


MISS  TALMADGE 
REPLIES 

In  keeping  with  our  promise  we  print 
the  following  statement  from  Miss 
Talmadge  in  full.  We  comment  on  it  in 
our  leading  article  on  Page  Five. 

¥  N  accepting  your  invitation  to  reply  to 
your  editorial  references  to  me  I  wish  it 
understood  that  I  am  concerned  not  with 
your  apparent  attempt  to  under-estimate 
everything  American,  but  with  the  false 
premises  upon  which  your  comments  have 
been  based. 

In  your  reference  to  my  plan  to  give  a 
British  girl  studio  training  in  America  ana 
an  opportunity  to  build  a  screen  career  for 
herself,  you  have  misrepresented  the  pro¬ 
ject.  I  do  not  say  you  have  done  this  de 
liberately,  I  state  only  the  fact. 

I  can  point  out  the  injustice  of  your 
attacks  no  better  than  by  epitomising  the 
project  itself.  I  was  invited  to  give  a 
British  girl,  representative  of  the  girlhood 
of  Great  Britain,  the  benefit  of  my  per¬ 
sonal  interests;  a  training  in  the  studios 
of  Mr.  Schenck,  and  further  advantages 
which  have  been  publicly  explained.  1 
accepted  this  invitation  enthusiastically, 
stipulating  that  the  young  woman  to  be 

chosen  for  and  by  me  should  be  worthy 
of  the  advantages  proffered  her ;  that  she 
should  be  one  who  would  reflect  credit  upon 
her  native  land  and  upon  me,  should  she 
be  successful.  I  promised  that  she  should 
be  given  everything  my  sister  Constance  and 
I  could  give.  Just  what  is  there  in  this 
proposal  or  its  acceptance  to  which  any 
person  or  any  interest  could  object? 

England  has  been  splendid  to  me.  In 
common  with  every  other  American  film 
artiste  who  has  become  known  to  the 
British  public  I  feel  deeply  grateful  for 
their  welcome  and  support.  It  was  this 
sentiment  which  enhanced  my  enthusiasm 
at  the  prospect  of  showing  such  apprecia¬ 
tion  as  I  migftt  of  the  kindnesses  showered 
upon  me  by  your  readers. 

You  state  that  many  deserving  British 
artistes  of  the  screen  are  “starving.”  and 
you  suggest  that  I  should  take  one  of  them, 
if  I  need  a  new  member  of  my  company, 
rather  than  a  girl  who  has  not  yet  had 
opportunity  <o  step  toward  a  career.  It  is 
this  twisted  inference  to  which  I  so  strongly 
object.  I  do  not  need  a  new  member  or 
my  company.  I  am  not  seeking  to  employ 
anyone.  That  is  not  my  province  as  an 
artiste,  and  anyone  familiar  with  film  pro¬ 
duction  must  know  it.  I  shall  get  no  re¬ 
turn  for  what  I  may  do  for  the  chosen  girl 
other  than  the  satisfaction  of  having  shared 
myself  with  someone  else.  If,  through  me, 
she  succeeds  and  returns  to  England  accom- 

( Continued  on  opposite  page.) 


girl  will  have  the  kindly  care  and 
sympathetic  help  which  should  make  her 
one  of  the  world’s  most  happy  young 
women.  And  we  may  be  sure  that  she  will 
come  back  to  us  as  Miss  Talmadge  wants 
her  to — worthy  of  England.” 

Now  what  we  would  like  to  know  is 
whether  the  Daily  Sketch  reporter  lost  his 
notes  and  had  to  write  the  above  report  out 
of  his  vivid  imagination.  We  did  not  lose 
our  notes.  Our  verbatim  report  of  Mr. 
Standing's  speech  is  clear — he  said  :  “  I 

really  think  Miss  Talmadge  could  have 
found  the  girl  she  seeks  in  the  ranks  of  the 
present  British  screen  actresses.” 

Why  this  suppression  of  the  facts? 

The  fact  of  the  matter  is  that  between  the 
Associated  Fiist  National,  Norma  Talmadge 
and  the  Daily  Sketch  a  big  exploitation 
stunt  is  being  worked  in  the  interests  of 
“  Smilin’  Through,”  and  British  screen 
artistes  will  be  the  unfortunate  victims. 
We  record  our  scepticism  of  the  offer  made, 
which  is  as  follows  :  — 

“  As  soon  as  she  is  chosen  this  happy 
‘  Daily  Sketch  girl  ’  will  be  the  ‘  toast  of 
London.’ 

“  An  unbroken  program  of  entertainment 
has  been  prepared  for  her.  Requests  for  her 
appearance  at  countless  important  functions 
already  are  being  showered  open  her. 
Celebrities  of  the  British  film  world  are 
planning  a  great  banquet  1o  1  er.  There  will 
be  receptions  in  her  jionour  almost  every 
hour  of  the  busy  days  that  then  intervene 
before  her  departure  for  America. 

“She  will  sail  for  America  on  November  16. 
Her  apartments  in  the  great  ocean  liner 
that  will  carry  her  across  already  have  been 
reserved  for  her  and  her  chaperon. 

“  When  she  lands  in  New  York  harbour 
she  will  be  greeted  by  Mayor  J.  M.  LIylan, 
of  New  York,  and  a  coumiittee  of  city 
officials  who  will  formally  tender  he-  the 
freedom  of  the  city. 

“  At  her  hotel  she  will  be  received  by  Mr. 
Ralph  Hayes,  the  head  of.  the  American 
motion  picture  Industry.  With  him  will  be 
representatives  of  every  American  film  com¬ 
pany,  each  to  speak  an  individual  word  of 
welcome. 

“  Her  first  evening  in  America  will  be 
marked  by  a  banquet  in  her  honour  given 
by  the  most  famous  of  America’s  picture 
stars.  Already  200  reservations  have  been 
made  for  this  banquet.  The  toast-master 
will  be  David  Wark  Griffith,  whose  ‘  Birth 
of  a  Nation  ’  and  ‘  Broken  Blossoms  ’  have 
made  him  as  famous  in  England  as  in  his 
own  country. 

“  Lilian  and  Dorothy  Gish  Jiave  wished 
that  they  be  special  hostesses  to  her  at  this 
memorable  festivity.” 

We  want  to  know  who  are  the  “  celebri¬ 
ties  of  the  British  film  world  ”  who  “  are 
planning  a  great  banquet  ”  to  the  “  happy 
young  lady.”  For  the  Daily  Sketch  claims 
that  she  will  be  a  very  happy  young  lady, 
and  quotes  Miss  Talmadge’s  latest  message, 
which  is :  “  To  my  Daily  Sketch  girl,  whoever 
you  are,  wherever  you  are — I  am  ‘  Smilin’ 
Through  ’  to  you.”  ( Note  the  publicity ■) 

Since  this  journal  commenced  protesting 
against  the  stunt  we  have  been  joined  by  the 
Daily  Graphic,  which  says: — “Industrious 
typists,  hard-working  shop  girls,  competent 
cooks,  patient  and  earnest  school  teachers,  all 
young  women  who  are  earning  their  livings, 
to  the  benefit  of  themselves  and  the  State, 
should  be  encouraged  to  go  on  earning  their 
livings  in  this  way  to  their  own  and  the 
State’s  benefit.  The  film  business,  already, 
is  overstocked  with  incompetent  people. 
Indeed,  thousands  of  the  competent  ones, 
both  in  America  and  here,  are  walking  up 
and  down  the  streets  asking  for  work.” 


9 


THE  MOTION  PICTURE  STUDIO 


October  21,  1922 


ZoAeAa  -aAJi  -a/ncl 

■coficCt  &vu(  -ctAji  -ct&oruy 


Jack  Jarman  has  been  playing  heavy  lead, 
in  “Little  Cuckoo  Flower.” 

Ivy  Duke  is  to  be  featured  in  “  The  Starlit 
Garden  ”  for  George  Clarke. 

Sinclair  Hill  is  to  direct  “Open  Country” 
for  Stoll. 

Guy  Newall  is  to  direct  “  The  Starlit 
Garden  ”  for  George  Clark  Pictures. 

Rene  Guessart  is  photographing  “Paddy 
the  Next  Best  Thing  ”  for  Grahame-Wilcox. 

M.  Prout  has  been,  directing  “Little 
Cuckoo  Flower.” 

Challis  Sanderson  directed  the  new 
Master  motor-cycling  film. 

Bromley  Davenport  lias  been  starring  in 
a  new  series  of  comedies. 

Kathleen  Vaughan  is  with  Walter  West, 
playing  in  “The  Hornet’s  Nest.” 

Joan  MacLean  is  playing  for  Quality 
Films  in  “The  Dancing  Partner.” 

A.  G.  Poulton  has  been  playing  in  the 
new  series  of  Bromley  Davenport  comedies. 

Fred  Wright  is  with  Walter  West  in  “The 
Hornet’s  Nest.” 

Sydney  N.  Folkor  has  been  starring  in 
“The  Dancing  Partner,”  for  Quality  Films. 

Bertram  Burleigh  is  to  play  an  important 
part  in  Sinclair  Hill’s  new  Stoll  production, 
“Open  Country.” 

Chris  Walker  has  been  engaged  to  appear 
as  the  Colonel  in  the  Atlas  Biocraft  Pro¬ 
duction,  “  The  Man  Without  Desire.” 

Miriam  Murray  has  been  playing  a  small 
part  in  “  Maid  of  the  Silver  Sea  ”  for  George 
Clark  Pictures. 

George  Ridgwell  is  to  direct  a  further 
series  of  “Sherlock  Plolmes  ”  subjects  for 
Stoll. 

Betty  Doyle  has  been  playing  lead  in  one 
of  the  new  Master  sporting  subjects  dealing 
with  motor-cycle  racing. 

F.ille  Norwood  is  playing  the  title  role  in 
“The  Further  Adventures  of  Sherlock 
Holmes  ”  for  Stoll, 

Lewis  Waller  has  been  playing  the  lead¬ 
ing  male  role  in  the  new  Master  motor¬ 
cycling  film. 

Tj.  G.  Egrot  has  been  photographing 
“The  Art  of  Self-Defence”  for  Phillips 
Film  Company. 

Cecil  Morton  Yoiki  is  appearing  in  the 
new  Walter  West  subject,  “The  Hornet’s 
Nest.” 

Wyndham  Standing  is  to  be  featured  in  a 
new  Hollandia  production  called  “The 
Hypocrites.” 

Lewis  Gilbert  has  been  engaged  to  plav 
the  Blacksmith  in  “The  Hornet’s  Nest,” 
for  Walter  West. 

Richard  Fox  has  been  doing  some  stunts 
with  motor  boats  for  Thomas  Bentley  in 
the  new  Ideal  subject  “  Greensea  Island” 
(Zeitlin’s  booking). 


Phyllis  Le  Grand  is  playing  in  the  new 
series  of  Bromley  Davenport  comedies. 

Adrian  Brunei  is  directing  “The  Man 
Without  Desire,”  for  Atlas  Biocraft. 

Norah  Swinburne  is  playing  in  Walter 
West’s  new  subject,  “The  Hornet’s  Nest.” 

Nadine  Marsh  is  playing  in  the  new 
Bromley  Davenport  comedies. 

Harry  Harris  is  photographing  for  Atlas 
Biocraft,  “The  Man  Without  Desire.” 

Nessie  Blackford  is  playing  for  Walter 
West  in  “The  Hornet’s  Nest.” 


“Boost  Britain 

Owing  to  the  fact  that  we  have  not 
been  able  to  complete  our  plans  for 
giving  the  British  National  Film 
League  the  support  we  desire,  the 

Special  British 
Propaganda  Number 

has  been  postponed  for  a  week. 
It  will  be  issued 

NEXT  WEEK. 

see  page  four. 


Muriel  Gregory  has  been  with  Progress  in 
“Facing  Fearful  Odds.” 

Rex  Davis  has  completed  work  for 
Hollandia  in  “  The  Lion’s  Mouse.” 


TRADE  SHOW 
GUIDE 

SECOND  Trade  show  will  take  place 
of  the  Baron  film, 

“A  SISTER  TO  ASSIST  ’ER,” 

which  has  been  acquired  by  Gauinont,  and 
will  be  put  out  under  the  banner  of  the 
British  National  Film  League, 

Mary  Brough  has  the  leading  role  as  Mrs. 
May,  and  is  supported  by  John  McAndrews, 
Pollie  Emery,  J.  E.  Barber,  Cecil  Morten 
York,  Muriel  Aked,  Mrs.  Fred  Emney  and 
Billie  Baron. 

George  Dewhurst  is  responsible  for  the 
direction,  and  G.  Pauli  the  photography. 

Trade  Show  :  Thursday,  October  26,  at 
the  New  Gallery  Kinema,  at  n  a.m. 

T>  ERT  WYNNE  has  now  finished  his 
latest  production,  which  is  an  adapta¬ 
tion  of  Esther  Whitehouse’s  story, 

“  The  Call  of  the  East.” 

Doris  Eaton,  Walter  Tennyson  and 
Warwick  Ward  play  the  leading  roles, 
and  are  supported  by  Francis  Innys. 

Trade  Show  :  Tuesday,  October  24,  at 
the  Shaftesbury  Pavilion,  at  n  a.m. 


Olaf  Hytten  has  been  playing  an  important 
role  in  “God’s  Prodigal  ”  for  International 
Artists. 

Muriel  Alleyne  and  C.  Loundes  Yates  have 
been  commissioned  to  write  the  scenario  of 
a  propaganda  play. 

Bobbie  Clifton  has  been  working  down  at 
Brighton  for  some  weeks.  He  is  now  back 
in  town. 

Malcolm  Tod  is  playing  in  the  interiors  of 
“  The  Romany  ”  for  Welsh-Pearson. 

Arthur  Rooke’s  new  production  for  David¬ 
son  is  called  “  Winners  of  Fortune.” 

Randal  A.  Terreneau  is  now  photograph¬ 
ing  “  The  Dancing  Partner  ”  for  Quality. 

Manning  Haynes  is  to  direct  “  The 
Monkey’s  Paw  ”  for  Artistic. 

Eric  Albury  has  been  engaged  to  play  for 
British  Super  Films  in  “The  Hotel  Mouse.” 

Frank  Grainger  is  to  photograph  “The 
Monkey’s  Paw  ”  for  Artistic. 

Florence  Nelson  lias  been  playing  for 
Progress  in  “  Facing  Fearful  Odds.” 

Phil  Ross  has  been  photographing  some  of 
the  new  sporting  dramas  for  Masters. 

Carlyle  Blackwell  is  to  play  Red  ert  Dudley, 
Earl  of  Leicester,  in  “The  Virgin  Queen 
for  Blackton. 

Tony  Fraser  is  back  from  Shoreham  where 
he  has  been  playing  in  “  Facing  Fearful 
Odds.” 

Paula  Blackton  is  attending  to  the  costum¬ 
ing  of  the  new  Blackton  film  “  The  Virgin 
Queen.” 

Harry  Worth  has  been  playing  in  the  new 
film  by  the  London  Press  Agency  (Jay’s 
booking). 

Al  Moise  has  been  engaged  to  photograph 
“  Sherlock  Holmes  ”  for  Stoll. 

Knighton  Small  has  been  engaged  to  play 
for  the  London  Press  Exchange  in  a  new 
production  (Jay’s  booking). 

Maurice  Elvey  is  to  direct  “The  Sign  of 
Four  ”  for  Stoll. 

II.  Humberstone  Wright  will  shortly  pro¬ 
ceed  to  Torquay  where  he  is  to  direct  for  a 
now  company  at  Watcombe, 

Dorinea  Shirley  has  been  engaged  through 
Zeitlin’s  to  play  for  Stoll  in  “  Open 
Country.” 

George  Bishop  has  been  playing  tire  part 
of  the  manager  in  “Football”  for  Masters. 

David  Hawthorne  was  engaged  through 
Zeitlin’s  to  play  male  lead  in  “  Open 
Country  ”  for  Stoll. 

Ruhama  Catton  will  be  seen  as  the  maid 
in  “  Paddv  the  Next  Best  Thing  ”  for 
Grahame-Wilcox. 

Jack  Phillips  Roberts  is  playing  juvenile 
in  the  revue  at  the  Grafton  Galleries 
(Zeitlin’s  booking). 


10 


October  21,  1922. 


THE  MOTION  PICTURE  STUDIO 


STAGE 

STARS 

by  MADGE  STUART 

rja  H  E  R  E  are  beautiful  and  talented 
actresses  in  this  country  who  would 
soon  be  the  world’s  sweethearts  if  only 
they  were  given  the  opportunity.  But  no  ! 
The  British  director  demands  a  big  name 
every  time.  He  likes  to'  feel  that  his 
film  is  sold  on  the  star’s  name  before  it 
is  produced.  Once  sold,  it  matters  little 
how  the  film  is  produced,  so  long  as  it 
is  up  to  the  average  standard,  and  little 
scope  is  given  to  the  artiste  to  do  justice 
to  the  part  she  is  playing. 

Moreover,  it  seems  to  me  rather  unjust 
to  engage  stage  stars  to  play  for  the  screen 
unless  they  are  outstanding  successes  from 
a  film  acting'  point  of  view.  The  producer 
will  pay  the  stage  star  an  enormous  salary 
because  of  his  or  her  name,  but  the  same 
producer  would  never  dream  of  spending 
half  the  money  on  introducing  new  legiti¬ 
mate  film  talent  to  the  picture-going 
world,  no  matter  how  clever  the  film 
artiste  may  be. 

The  result  is  that  much  of  our  best 
talent  goes  out  of  the  country7 — witness 
Charles  Chaplin  and  dozens  of  others  who 
made  good,  the  English  director  probably 
re-engages  them  to  play  in  his  films,  and 
likes,  if  possible,  to  introduce  them  as 
“the  great  American  stars.’’ 

It  is  a  difficult  problem  for  the  lay 
mind  to  understand,  but  far  more  so  for 
the  person  connected  with  the  business 
Who  has  to  fight,  fight,  fight,  and  then 
gets  no  farther  ahead. 

FINDING 
BRITISH  STARS 

by  MDLLE.  VALIA 

T  makes  me  so  tired  to  hear  the  oft- 
repeated  question,  “  Where  are  our 
British  screen  stars?  ”  There  are  plenty 
of  stars  in  embryo  only  waiting  to  be 
given  the  same  chance  as  the  American 
artistes,  jand  to  be  given  .a  little  en¬ 
couragement  and  appreciation. 

I  feel  sure  that  British  people  want  to 
see  British  films,  but  they  also  Want  to 
see  them  well  acted  and  photographed — 
if  the  audience  could  only  realise  the 
difficulties  against  which  the  British 
screen  artiste  has  to  work,  they  would 
not  decry  their  work ;  they  would 
cheer  them  to  think  they  had  achieved 
so  much  against  such  fearful  odds. 

It  does  not  matter  how  enthusiastic 
the  film  artiste  may  be,  nor  how  much 
hard  work  she  may  put  in — it  counts  for 
iitile  or  nothing.  Given  the  same  oppor¬ 
tunities  as  the  Americans  we  should  pro¬ 
duce  artistes  just  as  good  as  those  in  the 
Unjitied  States, 


YOUTH 

Its  Vital  Importance  in  the 
Studio  World 

by  FRANK  CRANE 

In  America,  Frank  H.  Crane,  who  writes 
the  f  llowing  article,  has  directed  the  follow¬ 
ing  stars — Dorothy  Phillips  in  “As  Ye  Sow, 
Robert  Warwick ,  Lew  Fields,  Vivian  Martin, 
Molly  King,  Elaine  Hammerstein,  Eugene 
O’Brien,  Mary  Garden  in  “  1  hais,’’  Irene 
Castle  m  “  Stranded  in  Arcady,”  Florence 
Reed,  Kitty  Gordon  and  Petrova.  He  is  one 
of  the  vers  small  band  of  American  direc¬ 
tors  who  are  here  to  make  British  pictures 
pa  amount. 

kinema  is  young  and  must  be 
-*•  served  by  Youth.  It  is  the  child 
of  the  entertainment  world,  and  as  yet 
is  only  partially  developed.  It  will  never 
grow  up  in  the  accepted  sense  of  the 
term.  New  inventions  will  take  the 
place  of  old,  and  every  new  idea  or  in¬ 
vention  will  make  a  further  demand  on 
Youth. 

Here  and  there  mature  Age  creeps  into 
the  studio,  but  it  is  only  suffered  to  exist 
as  a  frame  for  Youth — the  grey  beard 
and  lined  face  only  sets  off  the  smooth 
forehead  and  soft,  smiling  lips  of  Youth. 
Here  and  there  a  picture  may  be  found 
featuring  old-age,  but  it  is  an  old  Age 
made  beautiful  by  love  and  self-sacrifice. 
Still  Youth  is  in  the  picture.  It  is  Youth 
careless  and  unthinking  that  brings  the 
tears  to  the  dim  eyes  of  Age  and  makes 
the  delicate  shaking  hands  more  tremu¬ 
lous. 

The  screen  insists  upon  Youth — a  Youth 
that  can  trip  light-heartedly  through 
beautiful  exterior  locations  and  commit 
the  indiscretions  of  that  age.  The 
“  mother  ”  waiting  in  interior  sets  for 
the  return  of  the  wanderer  or  sitting 
sightlessly  upon  the  verandah  of  the  old 
home,  js  praying  for  a  chance  to  forgive 
— to  bestow  a  blessing  on  the  prodigal. 

The  kinema  public  is  different  from  all 
others.  It  demands  Youth  in  its  favour¬ 
ites.  No  matter  how  brilliant  a  “charac¬ 
ter  ”  performance  may  be,  how  sheer  act¬ 
ing  has  wrung  the  hearts  of  the  audi¬ 
ence,  the  name  of  the  performer  will  be 
forgotten  as  soon  as  the  lights  go  up. 


“  Boost  Britain  ” 

Owing  to  the  fact  that  we  have  no^ 
been  able  to  complete  our  plans  for 
giving  the  British  National  Film 
League  the  support  we  desire,  the 

Special  British 
Propaganda  Number 

has  been  postponed  for  a  week. 
It  will  be  issued 

NEXT  WEEK 

SEE  FAGE  FOUR. 


FRANK  CRANE 

The  names  of  the  winsome  heroine,  the 
more  discreet  the  more  lovable,,  and  the 
h/mdsome  heiro  who,  leaving  home  to 
find  a  fortune  (to  say  nothing  about  a 
lot  of  trouble  in  the  “  Great  Qity  ’’), 
brought  down  a  father’s  curse  and  broke 
a  mother’s  gentle  heart,  theirs  are  the 
names  that  Will  be  remembered,  theirs  the 
photographs  which  will  hang  above  the 
screen  fan’s  bed.  The  old  folk  were  dear 
old  folk,  but  they  were  old  folk,  while 
the  others  had  youth,  and  love,  and 
laughter  —  red  bloclo  ran  through  their 
veins,  and  it  was  only  nature  made  them 
do  the  things  they  did.  Age  and  Youth, 
With  the  latter  always  having  the  big  pull 
on  the  public  heart  and  fancy,  and  never 
growing  up. 

There  is  no  medium  (except  in  vamps— 
a  vamp  can  be  middle-aged  or  at  least  a 
little  passe).  The  screen  allows  no  past 
to  a  woman  below  middle-age.  If  Youth 
has  a  past,  then  A’outh  must  die  in  the 
fifth  reel  and  allow  the  companion  of  the 
first  reel  to  wed  the  friend  Who  has  trod¬ 
den  life’s  path  with  greater  caution. 
Screen  audiences  have  been  educated  to 
Y7ou(h.  They  will  have  Youth  as  lead ; 
for  Age — the  small  parts,  the  “  types,” 
the  support  that  provides  padding  and 
gives  glorious  Youth  a  little  breathing 
space. 

For,  as  in  the  cold  rr/ditv  of  life, 
Youth  of  the  screen  leans  much  on  Age 
and  looks  to  it  for  help,  although  the 
boy  sitting  in  the  darkened  gallerv  with 
his  arms  around  his  girl  may  not  think 
so.  Perhaps  he  does  think,  but  resolutely 
puts  the  thought  from  him — he  and  the 
gill  will  one  day  be  old,  will  have  to 
stand  aside  and  Watch  while  Youth  has 
its  spring — then's  only  the  memory  of 
romance,  the  fragrance  of  sweet  lavender. 

Perhaps  this  call  for  Youth  explains 
the  short  lives  of  stars  as  star?.  Few 
Victresses  lasti  many  year's!,  fewer  stilt 
have  the  courage  to  acknowledge  the 
stealthy  hold  of  the  Hand  of  Time-  But 
even  then  their  Yonth  (still  lives  and 
blooms  on  the  hoardings  and  on  the 
screens  of  minor  kinemas  long  after  the 
studios  have  forgotten  them. 


11 


THE  MOTION  PICTURE  STUDIO 


October  21,  1922 


CAMERAMEN’S 


SECTION 


News  and  Views 
and 

Record  of  Activities  of  Kine-Cameramen 


K.C.S.  OFFICIAL  NEWS 

IVT  O  business  of  any  importance  was  dis- 
- '  cussed  at  the  last  meeting  of  the 
Society,  although  there  were  quite  a  num¬ 
ber  of  members  present.  Quite  a  lot  of 
talking  was  done.  Members  had  an  oppor¬ 
tunity  of  discussing  the  many  little 
problems  that  had  been  worrying  them 
during  the  last  few  weeks,  and  in  this 
respect  the  meeting  was  worth  while. 


Some  mention  was  made  of  the  dinner  to 
be  held  this  year.  It  seemed  to  be  the 
desire  of  those  present  that  it  should  be 
held  at  the  Holborn  Restaurant  again.  Of 
course,  if  is  still  rather  early  to  discuss  the 
subject  of  the  annua  i  dinner,  and  it  will 
piobably  be  some  weeks  yet  before  members 
take  an  active  interest  in  the  arranging  of 
this  function. 


A  good  sign  is  that  many  of  the  leading 
producing  concerns  and  people  wanting 
cameramen  are  now  making  a  point  of 
getting  in  touch  with  the  secretary  and 
engaging  cameramen  through  him.  This  is 
undoubtedly  tbe  best  method  of  booking 
men,  for  no  one  knows  better  than  the 
Society’s  secretary  the  capabilities  of  each 
cameraman  in  the  business  and  the  kind 
of  job  he  is  most  suited  to. 


IN  the  new  Cosmopolitan  production, 
“  The  Face  in  the  Fog,”  a  new  method 
of  producing  fog  effects  lias  been  found. 
A  fine  colourless  oil  which  is  used  for 
medicinal  purjjoses  is  utilised.  A  battery 
of  compressed  air  machines  spread  this 
“  fog  ”  over  the  studio.  It  has  the  same 
shifting  kaleidoscopic  effect  that  a  real  fog 
shows.  Electric  signs  in  the  distance 
waver  and  grow  dim  and  then  blaze 
brighter.  Of  a  motor  coming  through  the 
fog  nothing  but.  the  glare  of  the  head¬ 
lights  can  be  seen  until  the  machine  is 
right  up  to  the  camera. 

The  “  fog  ”•  was  invented  by  Jack  Kelly, 
chief  electrician  of  Cosmopolitan  Produc¬ 
tions,  and  was  only  discovered  after  much 
experimenting  on  his  part.  He  had  always 
been  of  the  opinion  that  such  an  effect 
could  be  obtained  by  the  use  of  oil,  but  the 
real  trouble  arose  when  he  tried  to  use 
ordinary  oil.  After  much  experimenting  he 
came  across  the  ideal  stuff,  thin  and  clear, 
but  expensive.  This  he  tried  and  found  to 
be  just  right,  and  as  American  concerns  do 
not  worry  about  money,  gallons  of  it  was 
used  in  making  the  picture  “  The  Face  in 
the  Fog.” 


CAMERAMEN 
AT  WORK 

J  G.  EGROT  has  been  over  in  Paris 
*  again  on  a  short  holiday.  While 
filming  “The  Art  of  Self-Defence  ”  Egxot 
.had  a  thrill  which  can  only  be  appreciated 
by  a  cameraman.  He  had  set  his  camera 
up  in  the  ring,  and  as  he  was  passing  Kid 
Lewis’s  trainer  caught  the  tripod  leg,  and 
the  camera  came  crashing  down.  Lewis, 
who  was  standing  by,  was  on  the  spot  in  a 
minute,  and  succeeded  in  catching  the 
camera  a  few  inches  from  the  ground. 


A1  Moise  is  back  at  Crickiewood,  where 
he  is  to  film  a  further  series  of  “Sherlock 
Holmes  ”  pictures  under  the  direction  of 
George  Ridgwell.  After  his  adventures  in 
Ireland,  A1  will  no  doubt  find  life  at  Crickle- 
wood  restful. 


Rene  Guessart  has  joined  the  staff  of 
Grahame- Wilcox  Productions,  and  is  now 
photographing  “Paddy  the  Next  Best  Thing” 
for  that  company.  Guessart,  it  will  be 
remembered,  has,  since  his  arrival  in  this 
country,  been  filming  for  the  Alliance,  and 
was  responsible  for  most  of  the  photographic 
Work  of  “The  Bohemian  Girl.” 

An  excellent  film  of  the  big  fight  at  the 
Albert  Hall  last  week  was  secured  by  the 
Pathe  men.  The  difficulty  of  filming  three 
big  events  such  as  these  lights,  and  cutting 
them  down  for  inclusion  in  a  film  one 
thousand  feet  in  length,  is  great,  but  Pathe 
has  succeeded  in  running  all  the  interest¬ 
ing  incidents  in  all  three  contests.  The 
Beckett-Moran  affair  is  given  prominence, 
and  some  slow  motion  pictures  are  shown 
of  this  affray.  The  picture  is  remarkably 
clear,  considering  the  atmosphere  of  a  hall 
filled  with  smoke. 

On  the  subject  of  big  fights,  it  seems  to 
be  one  of  the  great  necessities  for  enjoying 
such  an  affair  to  purchase  the  largest  cigar 
available,  and  to  puff  forth  clouds  of  smoke 
that  considerably  spoil  the  photographic 
quality  of  films  of  the  event.  If  someone 
could  invent  some  method  of  eliminat¬ 
ing  this  smoke,  they  would,  I  am  sure, 
earn  the  undying  gratitude  of  the  camera 
fraternity. 


For  the  first  time  in  history  the  interior 
of  St.  Paul’s  Cathedral  has  been  filmed. 
Pathe  men  were  along  there  last  Thursday, 
with  lighting  equipment  sufficient  to  illu¬ 
minate  the  interior  and  to  take  pictures  of 
the  various  sections  inside. 


Phil  Ross  has  been  working  for  Masters 
on  a  number  of  new  sporting  dramas,  which 
that  company  has  been  making.  As  this 
series  is  now  completed,  Ross  is  free  at 
the  moment. 


SOMETHING  DIFFERENT 


L_IOW  many  cameramen  are  there  in  England  who  can  make  a  really  big 
*  *  sensation  when  one  of  their  films  are  shown  ?  Out  of  the  few  who  could 
do  so  not  one  has  yet  succeeded  in  doing  so,  and  it  is  doubtful  if  they  ever  will. 
But  the  fact  remains  that  we  have  the  men,  who,  if  they  were  but  given  a  chance, 
could  cause  quite  a  stir  in  the  profession  and  could  make  themselves  famous. 
The  trouble  with  our  photography  is  not  that  it  is  badly  done,  but  that  there  is 
always  too  much  of  a  sameness  about  it.  We  do  not  seem  to  be  able  to  get  out 
of  the  rut. 

When  we  see  an  English  him  we  know  beforehand  that  because  the  cameraman 
who  took  it  is  a  good  man,  we  are  going  to  see  a  well  photographed  picture. 
But  we  also  know  that  that  picture  will  from  a  photographic  viewpoint  be  like 
the  English  him  we  saw  last  week,  and  the  week  before  that,  and  so  on  for  months 
back. 

On  the  other  hand,  hardly  any  two  American  hlms  are  alike.  The  photo¬ 
grapher  always  has  something  new — some  little  novelty  to  introduce,  which  adds 
greatly  to  the  him  and  makes  the  cameraman  more  talked  of  than  his  English 
cousin. 

This  is  perhaps  where  the  American  kinematographer  scores  most  heavily. 
Not  because  he  is  a  better  man  than  the  English  one,  but  because  he  can  give  us 
something  new.  He  does  not  photograph  every  shot  from  the  same  angle.  Each 
shot  is  taken  from  a  new  angle,  and  throughout  the  picture  each  shot  has  some¬ 
thing  distinctive,  something  that  we  here  in  England  cannot  seem  to  be  able  to 
get  into  our  films.  In  this  respect  we  would  do  well  to  take  a  leaf  out  of  the 
American  cameraman’s  book. 

In  many  cases  cameramen  are  not  allowed  to  have  it  all  their  own  way,  and 
even  to  suggest  introducing  something  new  would  meet  with  a  very  bad  reception 
from  the  heads  of  the  concern  they' work  for.  In  such  instances  it  is  not  the 
cameraman  to  blame.  There  are  other  cameramen,  however,  who  would  be 
allowed  to  introduce  something  different  into  their  pictures,  but  will  not  take  the 
trouble  or  the  risk  involved  in  doing  so. 


FOG  MAKING 


12 


October  21,  1922 


fHE  MOTION  PICTURE  STUDIO 


SCENARIST’S  BUREAU 

New  Form  of  Service 


RESTRAINT 

by  DORA  LENNOX 

“  isn’t  done!  ”  That  sums  up  in  a 
few  words  the  reason  why  it  is  impos- 
sible  to  find  in  this  country  at  the  moment 
film  actresses  whose'  popularity  is  equal 
to  that  of  the  leading  American  stars. 
Inborn  in  the  true  Englishwoman  is  that 
self-control  which  makes  us  the  stolid, 
slow-moving,  level-headed  nation  that  we 
are — and  our  film  actresses  are  no'  excep¬ 
tion. 

“  Pep  ”  the  Americans  call  the  vivacity 
which  is  such  a  charm  of  the  film  star 
from  the  States,  and  our  British  screen 
stars  do  not  really  lack  that  quality,  but 
it  is  stilled,  smothered  at  birth,  simply 
because  the  English  race  is  not  so  demon¬ 
strative  as  some  of  our  friends  from  afar, 
and  both  the  film  actress  and  the  British 
film  producer  think  it  would  “not  be  nice  ” 
to  do  anything  but  the  conventional  on 
Ihe  film. 

Moreover  the  English  actress  grows  old 
far  more  quickly  than  her  American  cousin, 
chiefly  because  she  simply  cannot  afford, 
on  her  salary,  to  visit  the  beauty  parlour 
in  wffiose  secret  depths  much  of  the  Ameri¬ 
can  film  beauty  is  found,  nor  can  she 
lead  an  easy  life  on  the  salary  paid  her. 
Constantly  she  is  worried  as  to-  when  her 
next  job  will  be  forthcoming — in  a  number 
of  cases  she  has  to  provide  not  only  for 
herself,  but  maybe  a  mother,  brothers  and 
sisters,  who  all  think  that  big  sister’s 
screen  ability  and  beauty  is  a  never-ending 
source  of  wealth. 

1  could  tell  many  tragic  stories  of 
promising  young  British  actresses  'whose 
chances  have  been  marred  simply  because 
they  could  not  afford,  on  their  miserable 
little  salaries,  to  provide  home  and  food 
for  relations  and  themselves,  and  then 
have  sufficient  money  remaining  to  do 
themselves  justice  in  the  way  of  dress  and 
beauty  specialists. 

A  woman,  especially  an  English  woman, 
is  particularly  sensitive  and  of  a  worrying 
nature — how  then,  can  these  girls  (who 
would  be  beautiful  if  it  were  not  for  the 
worry  and  cares  of  this  world)  go  into  a 
studio  and  “put  over  ”  the  “pep”  of  the 
American  care-free  star?  Money  may  not 
be  everything  and  certainly  no  screen 
ambitious  girl  can  goi  into  a  shop1  and 
purchase  a  box  of  pep  and  talent,  but  a 
good  salary,  little  worry  and  anxiety,  and 
lots'  of  good  cheer  can  go  a  much  longer 
way  to  the  making  of  a  happy  face  (and, 
after  all,  it  is  the  expression  that  counts 
in  the  long  run)  than  most  people  imagine. 

It  is  the  same  with  our  theatrical  pro¬ 
ductions — compare  “  Chuckles,  ”  which 
was  recently  presented  in  London,  with 
some  of  our  English  revues.  It’s  great 
appeal  was  the  pep  and  vim  which  the 
artistes  exhibited.  From  1914  to  1919,  we 
English  were  very  close  to  war — its 
proximity  has  left  its  mark. 

An  American  film  director,  recently  in 
this  country  directing  a  film,  remarked  to 
me,  “  But  everyone  looks  so  sad  !  ”  and 
then,  after  a  moment’s  thought,  he  said, 

*■  It  must  be  the  war.” 

It  takes  an  outsider  to  see  these  things 
— we  are  used  to  them.  If  we  ffiok 
amongst  our  screen  actresses  (few,  alas, 
are  stars’!  there  are  many  beautiful  faces — 
but  all  have  that  sad,  care-worn  expres- 
(Continued  in  col.  three.) 


HTHE  Stage  is  not  a  paper  that  devotes 
much  space  to  films  as  a  rule,  but 
now  and  again  one  comes  across  such 
excellent  criticism — real  criticism  of  the 
kind  that  helps  the  Industry— in  its 
columns.  I  make  no  apology  for  quoting 
the  following  paragraphs  from  the  current 
number,  because  I  know  they  will  interest 
every  reader  of  The  Motion  Picture 
Studio  who  has  the  good  of  the  Industry 
at  heart : 

“  Spending  ,£,'40,000  on  a  picture  to 
make  it  a  stupendous  production  is  just 
lavishness.  When  the  money  has  been 
paid  out  some  cheap  but  excellent  film 
comes  along  .  .  .  with  that  magical 
power  behind  it — the  human  touch — and 
leaves  the  most  costly  and  elaborate 
films  far  behind,  looking  like  the  “also 
rans”  in  a  race.  If  we  get  down  to  the 
rock-bottom  causes  of  the.  true  popu¬ 
larity  of  the  moving  picture  with  our 
millions,  it  will  be  found  in  the  public 
appreciation,  of  the  approximation  of  the 
film  story  to  real  life,  and  in  the  interest 
which  humanity  takes  in  its  doings  and 
progress.  Critics,  directors,  or  actors, 
who  approach  the  moving  picture  from 
the  same  standpoint  as  they  do  the 
stage  play,  lay  stress  on  continuity, 
photography,  and  a  host  of  technical 
matters,  which  are  not  worth  twopence 
to  people  who  want  a  good  gripping 
picture,  and  who  stop  away  in  their 
millions  when  they  don’t  get  it  The 
true  and  final  test  of  a  good  film  is  its 
holding  power,  and  its  visualisation  of 
a  theme  of  life  presented  so  strongly 
that  the  spectators  forget  they  are 
looking  at  a  mere  reflection  on  a  screen. 
No  matter  how  technically  perfect  it 
may  be,  it  is  to  them  just  a  dreary  dud, 
even  if  it  cost  a  quarter  of  a  million, 
when  it  has  no  relation  to  life,  as 
people  know  it  out  of  tl  eir  personal 
experience.” 

The  need  for  stories  is  more  urgent 
than  it  has  ever  been.  The  people  who 
have  provided  them  in  the  past  have 
drifted  into  other  fields,  and  new  stars 
are  not  arising  in  the  literary  firmament 
in  sufficient  numbers.  What  is  to  be 
done? 

Just  as  it  is  said  that  almost  everybody 
in  this  country  has  either  written  a  stage 
play  or  dreamed  of  writing  one,  so'  it  may 
be  that  there  are  screen  play  writers  who 
have — laid  up  in  secret  drawers — the 
plots  of  wonderful  stories  for  the  films. 

Mow  are  such  people  to  get  them  to  the 
notice  of  the  film  firms  who  might  be  glad 
to  consider  them?  If  they  get  hold  of  an 
address  and  submit  them  to  a  firm  and 
have  them  returned,  how  are  they  to 
know  if  the  rejection  is  due  to  the  fact 
that  their  story  does  not  suit  that  parti¬ 
cular  firm,  or  if  they  have  failed  because 
thev  do  not  possess  the  kinema  brain  ? 

The  outsider  interested  in  the  kinema 
may  grope  for  years  unsuccessfully  with- 
our  ever  reaching  the  knowledge  that  is 
essential,  and,  meanwhile,  there  may  be 
writers  who  have  the  power,  but  lack  the 
chance  to  find  an  opening.  At  this 
moment  there  are  people  who  want  to  see 
England  stand  first  for  the  excellence  of 
her  stories,  in  the  film  Trade  of  the 
world. 


for  Photodramatists 

Alicia  Ramsay  leapt  into  fame  with  a 
single  film.  Her  “Prince  of  Lovers'  was 
first-class  work,  but  one  does  not  know 
how  many  months  or  ’/ears  of  study 
were  behind  the  technical  skill  that  could 
write  such  a  film  as  that.  There  may  be 
others  able  to  produce  brilliant  work  in 
Ibis  country,  and  they  are  what  the 
kinema  of  to-day  needs — but  the  difficulty 
is  to  find  them. 

To  meet  this  need1,  the  Editor  of  The 
Motion  Picture  Studio  has  suggested  a 
new  department  of  usefulness  for  his 
paper.  This  is  the  formation  of  a 
Scenarists  Bureau  of  advice,  information 
and  constructive  criticism,  which  will  also 
lead  to  the  discovery  of  British  talent 
suitable  for  the  literary  side  of  tne  Screen. 
It  is  not  a  prize  competition,  or  an  adver¬ 
tising  stunt,  it  is  simply  an  offer  of  help 
to  anv  or  every  reader  of  this  journal,  who 
has — or  thinks  he  has — a  story  for  the 
screen. 

Such  stories  should  be  sent  to  the 
Editor  of  The  Motion  Picture  Studio, 
marked  “Film  Play”  in  the  left-hand 
corner,  and  should  contain  a  stamped  and 
addressed  envelope  for  return.  They  will 
then  be  handed  over  to  two  well-known 
professional  scenarists,  who  have  under¬ 
taken  to  read  and  criticise  them  without 
charge  to  the  writers,  in  a  column  set 
aside  for  that  purpose.  It  is  suggested 
that  most  writers  would  prefer  an  as¬ 
sumed  name,  and  every  confidence  will  be 
respected.  No  responsibility  can  be 
accepted  for  MSS.  lost,  though  even- 
care  will  be  taken,  but  in  the  interests  of 
very  busy  people  the  scenarists  venture  to 
hope  that,  where  possible,  MSS.  maybe 
typewritten. 

This  search  is  undertaken  in  a  spirit  of 
hope.  England  has  the  greatest  literature 
in  the  world.  Surely  there  must  be  some¬ 
one  now,  who  can  arise  and  give  her  the 
human  stories  she  needs  for  the  screen. 

The  Bureau  will  also  give  scenarists 
advice  as  to  the  status  of  producing  firms, 
and  every  kind  of  assistance  that  scenarists 
need  can  be  obtained  free  of  all  charge 
from  the  Bureau.  C.  L.  F 


( Continued  from  col.  one- 

sion  behind  which  is  that  evep*>resent 
thought,  “I  wonder  if  I  shall  be  able  to 
pav  the  grocer’s  bill  or  not !  ” 

An  actress  is  supposed  to  be  such  an 
actress  that  she  can  hide  these  things — 
she  does  to  a  certain  extent,  but  that  is 
just  where  inborn  restraint  comes  in  again. 
She  wouldn’t  own  up  she’s  hard  up!  If 
asked,  she  would  deny  the  fact  that  she 
is  unhappv  or  care-worn,  brave  little  mou1 
that  she  is.  If  she  would  only  “out  with 
it  ”  and  share  her  trouble — then  we  should 
find  her  heart  a  lighter  one  and  going 
out  through  a  smiling  face  to  her  huge 
audience ! 

There  is.  after  all,  a  great  deal  of  truth 
in  the  Tean  Paul  words,  “Cares  are  often 
more  difficult  to  throw  off  than  sorrows; 
the  latter  die  with  time,  the  former  grow 
with  it,”  and  so,  instead  of  getting  cured, 
our  British  screen  actress  piles  up  her 
cares  in  wrinkles  on  her  face,  which  she 
cannot  afford  t.  have  removed. 


13 


THE  MOTION  PICTURE  STUDIO 


October  21,  1922 


COMPLETE  LIST  OF  ALL  THE  BRITISH  STUDIOS,  TOGETHER 
WITH  ADDRESSES,  TELEPHONE  NUMBERS, 


Acfelqui  Millar  Productions. 

Address  :  17,  Leinster  Square,  W. 

Albert  Phillips  Film  Production. 

Address  :  3,  Wardour  Street,  W.l. 
Phone  :  Regent  3282. 

Film  :  “  Fatty’s  Overtime.” 
Director  :  Edward  D.  Roberts. 

Star  :  Fatty  Phillips  and  Athalie 
Davis. 

Scenarist  :  Muriel  Alleyne  and 
Christabel  Lowndes-Yates. 
Cameraman  :  Frank  Canham. 

Stage  :  Scheduled. 

Alliance  Film  Co. 

Studio  :  St.  Margaret’s,  Twicken¬ 
ham. 

Phone  :  Richmond  1945. 

Route  :  Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s.  Fare  : 
1st,  2s.  OL,  3rd,  Is.  OJd.  ;  R.T., 
1st  3s.  Id.,  3rd  2s.  Id. 

From  Waterloo  :  A.m.,  every 
10  minutes  ;  from  St.  Margaret’s 
every  10  minutes. 

Artistic  Films,  Ltd. 

Address  :  93-95,  Wardour  Street, 
W.  1. 

Phone  :  Gerrard  3210. 

Film  :  “  The  Monkey’s  Paw.” 
Director  :  Manning  Haynes. 
Scenarist  :  Lydia  Hayward. 
Cameraman  :  Frank  Grainger. 
Stage  :  Casting  shortly. 

Allas  Biocraft. 

Address  :  16,  Albemarle  St.,  W. 
Gen.  Manager:  Miles  Mander. 

Film  :  ‘‘  The  Man  without  Desire.” 
Director  :  Adrian  Brunei. 

Star  :  Ivor  Novello. 

Cameraman  :  Harry  Harris. 
Scenarist  :  Frank  Fowell. 

Stage  :  Second  week. 

Barkers. 

Address  :  Ealing  Green,  London,  ! 
W.  5. 

Phone:  Ealing  211  and  15S2. 
Studio  :  Vacant. 

Route  :  C.L.R.  Tube  to  Ealing. 

B  &  C.  Productions. 

Address  :  Hoe  St.,  Walthamstow. 
Piione  :  Walthamstow  364  and  712. 
Route  :  Bus  38.  Tram  81  to 
Bakers’  Arms.  G.E.R.,  Liver¬ 
pool  Street  to  Hoe  Street. 
Fare :  1st  Is.  2d.,  2nd  10|d., 
3rd  7d.  R.T.,  1st  Is.  9d.,  2nd 

Is.  4d.,  3rd  10^d. 

From  L.S.  :  A.m.  7.58,  then 
every  few  minutes  until  p.m., 
9.5,  9.20,  9.35,  9.50,  10.5,  10.20, 

10.35,  10.50,  11.5,  11.20,  11.35, 

11.50,  12.5,  12.35  midnight. 

Hoe  Street  to  L.S.  :  A.m.,  7.53, 

8.2,  8.8,  then  every  few  minutes  ; 
p.m.,  8.20,  8.35,  8.50,  9.6,  9.20, 

9.35,  9.49,  10.6,  10.20,  10.36, 

10.50,  11.6,  11.20,  11.35,  12.2. 
Film  :  Historial  Incidents. 

Type  :  One  reelers. 

Stage  :  One  a  fortnight. 

Laron  Films. 

Address:  95,  St.  Martin’s  Lane, 
W.C.2 


B  itish  Famous  Films. 

Address  :  “  Woodlands,”  High 

Road,  Whetstone. 

Phone  :  Finchley  1297. 

Studio  Vacant. 

Brtish  and  Oriental. 

Address  :  P>.  P.  Studios,  Thornton 
House,  Thornton  Road,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Studio  being  used  by  Quality  Films. 

friti  h  Fh  toplays 

Address  :  Devon  Chambers,  2S, 
Fleet  Street,  Torquay. 

Not  Working. 

Briti ,  i  Prot  uctions. 

Address  :  Selborne  Road,  Hove. 
Film  :  Historial  Subjects. 
Director  :  Lieut.  Daring. 
Camerma  an  :  A.  Kingston. 

British  Super  Films. 

Address  :  Worton  Hall,  Isleworth. 
Phone  :  Hounslow  212. 

Route  :  Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth. 
Fare :  1st  Is.  OAd.,  3rd  9d.  ; 
R.T.,  1st  Is.  9d.,~  3rd  Is.  6d.  ; 

а. m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 
past  each  hour  until  11.51  p.m. 
Extra  trains,  4.43,  5.13,  5.43, 

б. 13,  6.43,  7.13. 

Isleworth  to  Waterloo  :  8.33, 
8.44,  9.3,  9.14,  9.33,  9.44,  10.14, 
10.14.  Same  minutes  past  every 
hour  until  10.44,  11.14  p.m. 
Extra  trains  5.30,  6.0,  6.30. 


Film  :  The  Right  to  Strike. 
Director  :  Fred  Paul. 

Cameraman  :  Sidney  Blythe. 

Stage  :  Cutting  and  Assembling. 

Film:  “The  Hotel  Mouse.” 

Stage  :  Scheduled. 

Daisy  Productions. 

Film:  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson 

Address  :  Lea  Bridge  Road,  E.  10. 
Phone  :  Walthamstow  634. 

Route  :  Bus  Nos.  35  and  38. 
Trams  81,  55,  57. 

G.E.R.  from  Liverpool  Street 
to  Lea  Bridge  Road.  Fares  : 
1st  Is.  2d.,  2nd  lOJd.,  3rd  7d. 
R.T.,  1st  Is.  9d.,  2nd  Is.  4d., 
3rd  10Jd.  A.m.,  10.34 ;  p.m., 

1.50,  3.5,  4.37,  6.27,  8.5. 

Lea  Bridge  to  Liverpool  Street  : 
A.m.,  8.26  ;  p.m.,  1.4,  5.27,  5.54, 
6.29,  7.7,  8.4,  8.57,  10.4. 

Film:  ‘‘Winners  of  Fortune.” 
Director:  Arthur  Rooke. 

Star  :  Henry  Vibart. 

Cameraman  :  Leslie  Eveliegh. 
Stage  :  Sixth  week. 

F.  P.-Lasky. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
and  then  tram  No.  11. 

Studio  being  used  by  Grahame 
Cutts. 

Gaumont. 

Studio  :  L  me  Grove,  Shepherd’s 
Bush,  W.l 2. 

Phone  :  Hammersmith  2090-1-2. 


Route  :  Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station 
Studio  being  used  by  Edward  Jose. 

Film  :  “  The  Scientist.” 

Director  :  Capt.  Calvert. 

Stars  :  Marjorie  Hume  and  David 
Hawthorne. 

Cameraman  :  Basil  Emmott. 
Scenarist  :  Alicia  Ramsay. 

Stage  :  Cutting  and  assembling. 

Clan  Film  Productions. 

Address  :  20,  Lisle  Street,  W.C. 
Studio  :  “  Belgrave,”  Marine 

Terrace,  Aberystwyth. 

Not  working. 

Cecrge  mark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Phone  :  Museum  3012. 

Film  •  “  Maid  of  the  Silver  Sea.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Cameraman  :  Hal  Young. 

Stage  :  Seventh  week. 

Film  :  “  The  Starlit  Garden.” 

Stage  :  Starting  in  November. 

Grahame  Wilcox  Productions. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
then  tram  No.  11. 

Film  :  “  Paddy  the  Next  Best 

Thing.” 

Director  :  Grahame  Cutts. 

Star  :  Mae  Marsh. 

Cameraman  :  Rene  Guessart. 
Scenarist  :  Elliot  Stannard. 

Stage  :  Fourth  week. 

Film  :  Not  announced. 

Director  :  Grahame  Cutts. 

Stage  :  Starting  shortly. 

Cranger-Binger. 

Address  :  191,  Wardour  St.,  W.  1. 
Phone:  Gerrard  1081  and  1728. 
Studios  :  Haarlem,  Holland. 

Film  :  “  The  Lion’s  Mouse.” 
Director  :  Oscar  Apfel. 

Star  :  Wyndham  Standing. 

Stage  :  Cutting. 

Gianvilie  Production. 

Address  :  Windsor  Studios,  Brom 
ley  Road,  Catford. 

Phone  :  Lee  Green  948. 

Film  :  “  Shifting  Sands.” 
Director  :  Fred  Granville. 
Starring  :  Peggy  Hyland. 
Cameraman  :  Walter  Blakely. 
Type  :  Five  reel  drama. 

Stage  :  Completed. 

Film  :  “  Hennessey  of  Moresby.” 
Stage  :  Starting  shortly. 

Hardy. 

Address:  13,  Gerrard  St.,  W.l. 

Harma  Clarendon. 

Address:  16,  Limes  Road,  Croydon 
Phone:  Croydon 921  and 2084. 

Not  working. 

Hepwcrth  Picture  Plays. 

Address  :  Walton-on-Thames. 
Phone  :  Walton  16. 

Route  :  From  Waterloo.  Fare : 
1st  4s.  lljd.,  3rd  2s.  6d.  ;  R.T., 
1st  7s.,  3rd  4s.  4£d. 


14 


October  21,  1922 


THE  MOTION  PICTURE  STUDIO 


FULL  PARTICULARS  OF  CURRENT  PRODUCTIONS,  ROUTES 
AND  FARES  FOR  REACHING  THE  STUDIOS 


From  Waterloo  :  A.m.,  7.0, 

8.0,  9.20,  10.20,  11.20;  p.m., 

12.20,  1.20.  2.20,  3.20,  4.20,  4.54, 
5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  8.20,  8.55,  9.20,  10.20, 
11.34. 

From  Walton  :  A.m.  7.59,  8.29 
8.41,  8.56,  9.9,  9.46,  10.10,  11.10. 
p.m.,  12.10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44,  6.10,  7.10,  S.10,  9.10, 

10.10,  10.35,  11.34. 

Film  :  “  The  World  of  Wonderful 

Reality.” 

Director  :  Henry  Edwards. 
Cameraman  :  Charles  Bryce. 

Stage  :  Nearing  completion. 

Film  :  “  Pipes  of  Pan.” 

Director  :  Cecil  Hepworth. 

Stage  :  Nearing  completion. 

ideal. 

Address  :  Boreham  Woods,  Elstree, 
Herts. 

Phone  :  Elstree  52: 

Route  :  Trains  from  St.  Pancras. 
Fare  :  1st  2s.  lid.,  3rd  Is.  9  id.  ; 

R. T.,  double  fare.  A.m.,  7.30, 

S. 0,  8.50,  9.55,  10.45,  11.48; 

p.m.,  12.33,  1.13,  2.35,  3.55,  4.45, 
5.12,  6.2,  6.45,  6.50,  7.20,  8.8, 
9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras  : 
9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.3,  3.56,  4.56,  5.29,  6.18,  6.55, 
7.36,  8.54,  10.14,  11.3. 

Studio  Manager  :  F.  A.  Kendrick. 
Art  Director:  J.  T.  Garside. 

Film  :  Greensea  Island.” 
Director  :  Thomas  Bentley. 

Stars  :  Flora  Le  Breton  and  Clive 
Brook. 

Stage  :  Sixth  week. 

Film  :  “  This  Freedom.” 
Director:  Danison  Clift. 

Star:  Fay  Compton. 

Scenarist:  Denison  Clift. 

Stage:  Preparing  Scenario. 

Film  :  “  Harbour  Lights.” 

Director  :  Tom  Terriss. 

Star  :  Tom  Moore. 

Cameraman  :  W.  Shenton. 

Stage  :  Sixth  week. 

Film  :  “  Paupers  of  Portman 

Square.” 

Director  :  Frank  Crane. 

Star  :  Margaret  Bannerman. 

Stage  :  Completed. 

Film  ;  ‘  Out  to  Win.” 

Director  :  Denison  Clift. 

Stage  ^Scheduled. 


Film  :  “  Mary  Queen  of  Scots.” 
Director  :  Denison  Clift. 

Stage  :  Scheduled. 

International  Artists. 

Address:  52,  Shaftesbury  Av.W.  I . 
Phone  :  6338. 

Film  :  11  Call  of  the  East.” 

Director  :  Bert  Wynne. 

Stars  :  Doris  Eaton,  Walter  Tenny¬ 
son  and  Warwick  Warde. 
Cameraman  :  W.  Howse. 

Stage  :  Assembling. 

Film  :  “  God’s  Prodigal.” 
Director  :  Ed.  Jose. 

Star  :  Donald  Crisp. 

Cameraman  :  C.  McDowell. 

Stage  :  Fourth  week, 

Isl  3  of  Man  Films. 

Address  :  The  Manx  Studios, 
Isle  of  Man. 

Not  working. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington. 

Phone  :  Kingston  1617. 

Route  :  From  Waterloo  to  Tedding¬ 
ton.  Fare  :  1st  2s.  7^d.,  3rd 
Is.  4d.  ,-  R.T.,  1st  4s.  4jd.,  3rd 
2s.  8d.  From  Waterloo,  a.m., 
?  7.55.  Then  trains  every  few 
f  minutes  until  11.55  p.m.  From 
Teddington,  a.m.,  7.51.  Then 

?  trains  every  few  minutes  until 
11.1,  11.16,  1 1.51  p.m.  Bus  27. 
Film  :  “  Sporting  Subjects.” 

Directors  :  H.  B.  Parkinson,  Ed¬ 
win  J.  Collins  and  George  Wynne 
and  Challis  Sanderson 
Cameraman  :  Theo.  Tliumwood. 
Type  :  One  reelers. 

Stage  :  Completed. 

Film  :  “  The  Green  Caravan.” 
Director  :  E.  J.  Collins. 

Star  :  Catherine  Calvert. 
Cameraman  :  Theodore  Thumwood. 
Stage  :  Fourth  week. 

Mine  va  Films. 

Address  :  110,  Victoria  St.,  S.W.l. 
Phone  :  Victoria  7545. 

Not  working. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 
Phone  :  Shoreham  19. 

Film  :  “  Facing  Fearful  Odds.”  __ 

Director  :  Wilfred  Noy. 

Star  :  Mavis  Clare. 

Cameraman  :  Stanley  Mumford. 
Stage  :  Seventh  week. 

Qual  ty  Films. 

Address  :  B.  P.  Studios,  Clapham 
Park. 


Phone  :  Streatham  2652. 

Film  :  One  reelers. 

Director  :  George  A  Cooper. 
Stars  :  Sydney  Folker  and  Joan 
McLean. 

Studio  Manager  :  S.  Folker 
Cameraman  :  R.  Terreaneau. 
Stage  :  One  a  week. 

f.aleigh  King  Productions. 

Address  :  Watcombe  Hall,  Tor¬ 
quay. 

Studio  :  Vacant. 

Reguius  Films. 

Address  :  .48,  Carnaby  Street, 

Regent  Street,  W.l. 

Not  working. 

Se:  I  Productions. 

Address  :  171,  Wardour  Street. 

Phone  :  Regent  4329. 

Not  working. 

ScrEenplays. 

Address  :  Cranmer  Court,  Clapham 
Phone  :  Brixton  2956. 

Route  :  Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll 

Address  :  Temple  Road,  Crickle- 
wood 

Phone  :  Willesden  3293. 

Route  :  B.us  No.  16. 

Studio  Manager  :  J.  Grossman. 
Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Colehy. 

Stars  :  Henry  Victor,  Stewart 
Rome  and  Edith  Bishop. 
Cameraman  :  D.  P.  Cooper. 

Stage  :  Twelfth  week. 

Film  :  “  Petticoat  Loose.” 
Director:  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  Lionelle 
Howard. 

Stage  :  Cutting  and  Assembling. 

Film  :  “  Top  of  the  World.” 
Director  :  Maurice  Elvey. 

Stage  :  Scheduled. 

Film  :  “  Open  Country.” 

Director  :  Sinclair  Hill. 

Stage  :  Casting. 

Film  :  “  Sherlock  Holmes.” 
Director  :  George  Ridgwell. 

Star  :  Eille  Norwood. 

Cameraman  :  A1  Mouse. 

Stage  :  Starting  shortly. 

Film  :  “  The  Sign  of  Four.” 
Director  :  Maurice  Elvey. 

Stage  :  Scheduled,  jy 


J.  Stuirt  Blackton. 

Address  :  Bush  House,  Alawyeh. 
Phone  :  Central  1935. 

Film  :  “  The  Virgin  Queen.” 

Director  :  J.  Stuart  Blackton. 
Star  :  Lady  Diana  Manners. 
Cameraman  :  Nicholas  Musurca. 
Stage  :  Starting  this  month. 

Torquay  &  Paignton  Photoplays 

Address  :  Public  Hall,  Paignton 
Not  working. 

Un  on  Films. 

Address  :  Strand  Street,  Liverpool. 
Phone  :  Central  (Liverpool)  325. 
Not  working. 

Walker  B:yd  Sunshine  Produc¬ 
tions. 

Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Wa  ter  West  Productions. 

Address  :  Princes  Studios,  Kew 
Bridge. 

Phone  :  Chiswick  574. 

Route  :  Bus  Nos.  27,  105. 

Broad  Street  to  Kew.  Fa  re 
1st  Is.  4d.,  3rd  9d.,  RT.,  1st 
2s.  0£d.,  3rd  Is.  4d.  A.m.,  8.2, 

8.20,  8.45,  9.0,  9.47,  10.17,  10  47, 

11.17,  11.47  :  p.m.,  12.17,  12.47, 

1.17,  1.47,  2.17,  2.47,  3.17,  3.47, 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40, 
6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 
8.47,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street ; 
A.m.,  9.40,  10.8,  10.38,  11.8, 

11.38;  p.m.,  12.8,  12.38,  1.8. 

1.38,  2.8,  2.38,  3.8,  3.38,  J.8,  1.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20, 

6.38,  7.8,  7.38,  8.8,  8.38,  9.8,  9.38, 
Film:  “The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Florence  Turner,  Kathleen 
Vaughan,  Norah  Swinburne,  Fred 
Wright,  and  James  Knight. 
Stage  :  Fifth  week. 

Welsh  Pearson. 

Address:  41-45,  Craven  Park 
Harlesden,  N.W.  10. 

Phone  :  '  Willesden  2862. 

Route  :  Bus  No.  IS. 

Film:  "The  Romany.” 

Star  :  Victor  McLaglen. 
Director:  Martin  Thornton 
Cameraman  :  Percy  Strong. 
Stage  :  Ninth  iveek. 

Zodiac. 

Studio  :  Kingsbury  Studios. 

Film  :  Walter  Forde  Comedy. 

Stage  :  Scheduled. 


15 


Saturday,  October  21,  1922. 


TWOPENCE 


THAT  TALMADGE 


STUNT  EXPOSED 


See  pages  5,  8  and  9  of  this  Issue  for 


NORMA  TALMADGE’S  LETTER 


Boosting,  British  Films 


in  America= 


Next  Week's  Issue  will  be  a  Special 


:  BRITISH  : 


PROPAGANDA  NUMBER 


All  About  Britain’s  Best  Films  and  their  Artistes 

(See  PAGE  FOUR.) 


Printed  and  Published  by  ODHAMS  PRESS  Ltd.,  Long  Acre,  W.C.2.-  October  21,  1922. 


Wmqfffijg 


The  Atlas  Bio'craft  Co.U-d.  16 Albemarle  St.W.I.  Seepage^ 


THE  MOTION  PICTURE  STUDIO 


October  28,  1Q22 


"BRITISH 


PRODUCTIONS 


ENGRAFT 


m 


*  -  mpm 


'<  '  'W  i 


The  Gaumont  Company  Ltd 

presents 

HOWARD  GAYE 


MARJORIE  HUME 


A  PR  NCE 


OF  LOVERS 


Played  four  weeks  at  he 
Philharmonic  Hall,  London 


! 


.  ■ 


v\>,  .%€ 


:  : 


, 


,Wv.v;-: 


A  PRINCE  °**  LOVERS 

THE  ROMANCE  OF  LORD  BYRON 


October  28,  1922 


THE  MOTION  PICTURE  STUDIO 


> 


The  Gaumont  Company  Ltd 

presents 

DAV  D  HAWTHORNE 


GLADYS  JENNINGS 


ROB  ROY 


Booked  to  the 
SALON,  GLASGOW 

for  exclusive  run  at  biggest 
price  ever  paid  for  any 
picture  in  Great  Britain 


SMS 


SCOTLANDS  OWN  EPIC  OF  ROMANCE  AND  VALOUR. 


3 


THE  MOTION  PICTURE  STUDIO 


October  28,  1922 


] 


"BRITISH  SCREENCRHFT" 
"WESTMINST ER"  FILMS 


THE  GHCIMONT  CO  LTD 

. -fag 


,  -  *\ir\ 


The  Gaumont  Company  Ltd. 

I rese-ts 

“A  SOUL’S' 
AWAKENING” 

with 

DAVID  HAWTHORNE 
and  FLORA  LE  BRETON 

“CLASS  AND 
NO  CLASS’’ 

with  JUDD  GREENE 
and  PAULINE  JOHNSON 

“ROSES  IN 
THE  DUST” 

with  IRENE  ROWE,  etc 


4 


October  28,  1922. 


Editorial  and 
Advertise¬ 
ment  Offices 
93.  Long  Acre, 
London,  W.C.2. 

Vol.  2  No.  73 


Fair-play  for  Rivals. 

ALTHOUGH  this  journal  is  the  un¬ 
official  organ  of  the  British  film 
producing  industry,  it  has  resolutely 
refused  to  beat  the  Americans  by  banging 
them.  We  disagree  with  that  form  of 
rivalry  that  can  only  find  expression  by 
kicking  its  opponents’  goods.  We  make 
no  secret  of  our  admiration  of  American 
film  technique  and  organisation.  There 
is  no  wisdom  in  mounting  the  rostrum  and 
declaring  that  “  our  goods  are  the  best 
ever — the  other  fellow’s  are  trash.’’  For 
one  reason  :  it  is  not  true.  We  say  to  our 
American  friends  that  we  are  grateful 
to  them  for  all  the  good  they  have  done  to 
this  world-wide  industry.  There  are  cer¬ 
tain  aspects  of  some  American  films  that 
we  consider  to  detract  from  the  best  stand¬ 
ard  of  kinematography  ;  but  in  the  main 
we  are  proud  to  know  that  the  Americans 
have  so  capably  developed  the  art  of 
kinematography  which  this  country  in¬ 
vented. 

*  *  * 

The  Pinch  of  the  Shoe. 

A  ND  we  are  going  to  invite  our 
American  friends  to  try  to  see  the 
position  of  the  British  film  industry  as  the 
British  film  industry  sees  it.  Without 
making  the  well-worn  excuse  that  the  war 
has  handicapped  it,  the  British  industry 
points  out  that  the  great  disadvantage 
under  which  it  labours  has  a  financial 
basis.  The  Americans  tell  us  that  our 
national  pictures  usually  evidence  a  poverty- 
stricken  aspect  that  completely  unfits  them 
successfully  to  compete  with  their  rival’s 
films.  But  is  it  not  perfectly  obvious  that 
we  cannot  spend  more  money  on  a  film 
than  its  possible  revenue  will  justify  ? 
And,  as  things  are,  the  revenue  on  an 
average  British  five-reel  program  feature  is 
dependent  upon  the  bookings  the  film 
gets  in  Great  Britain.  If  British  films  are 
confined  to  the  British  market,  British 
film  manufacturers  cannot  make  lavish 
productions.  In  other  words  :  British 
films  must  be  allowed  to  enter  the  American 
market  and  compete  on  equal  terms  with 
American  and  German  films  for  a  place  on 
American  screens. 


The  Equity  of  Reciprocity. 

'  I  'HERE  is  nothing  unfair  in  this  pro¬ 
position.  It  is  asked  as  a  right  and 
not  as  a  favour.  It  is  based  on  a  sense 
of  equity  and  justice  :  the  equity  and  jus¬ 
tice  of  reciprocity.  For  nothing  is  placed 
in  the  way  of  American  films  entering  the 
British  market  and  we  feel  that  nothing 


THE  MOTION  PICTURE  STUDIO 


Telegrams — 
Southernwood, 
Rand,  London. 
Telephone — 
Gerrard  9870. 


should  be  put  in  the  way  to  prevent  British 
films  entering  the  American  market.  Here 
in  this  country  American  films  are  given 
an  advantage  over  our  own.  In  this  way  : 
While  the  British  Government  does  nothing 
to  assist  the  film  industry  but  goes  out  of 
its  way  to  hamper  its  progress  by  irksome 
restrictions  and  iniquitous  taxation, 
American  films  are  not  taxed  at  all  on 
coming  into  this  country.  So  that  Ameri¬ 
can  films  because  they  have  already  reaped 
a  rich  harvest  in  America,  can  be  offered 
to  British  exhibitors  at  such  low,  cut¬ 
throat  terms  that  British  films  stand  very 
little  chance  of  being  screened.  It  is 


Greetings ! 

to  our  friends 
of  the  American 
Film  Trade. 
Through  its  journal  the 
British  Film  Industry 
shakes  hands  with  its 
American  friends  and 
trusts  that  the  good  rela- 
tions  of  the  past  will  be 
further  developed  for 

MUTUAL  BENEFIT. 


perfectly  obvious  that  with  the  Government 
having  taxed  the  exhibitor  until  he  can 
hardly  keep  his  doors  open,  the  latter  can¬ 
not  afford  to  pay  £10  for  a  three-day  run 
of  a  British  film  when  he  can  get  an 

American  film  for  £3. 

*  *  * 

Free  Trade  ;  No  Tax. 

'  |  'HE  whole  point  of  our  argument  is 
this  :  Will  America  give  to  British 
films  as  open  competitive  field  as  England 
gives  to  American  films  ?  We  disagree 
entirely  with  the  policy  of  taxing  American 
films.  We  stand  for  Free  Trade,  a  fair 
field  and  open  competition — and  let  merit 
tell.  But  we  have  to  tell  our  Ameri¬ 
can  friends  that,  with  the  alteration  in 
Government,  it  is  quite  conceivable  that  a 
tax  may  be  put  on  American  imported  films. 
And  the  greatest  argument  that  the  tariff 
advocates  would  have  is  the  fact  that 
British  films  have  not  the  open  field  m 
America  that  American  films  have  here. 


Oct.  28,  1922 


Norma  Talmadge. 

WE  have  said  all  that  there  is  to  say 
about  Miss  Talmadge  and  the 
Daily  Sketch  stunt  and  have  said  this  solely 
in  the  interests  of  the  British  producing 
industry  as  a  whole.  For  the  sake  of 
summarising  what  has  gone  before,  we  re¬ 
enumerate  our  points,  which  are  that  if 
Miss  Talmadge  really  wants  to  find  a 
British  Screen  Queen,’’  she  will  have 
no  difficulty  in  choosing  one  from  the 
ranks  of  experienced,  but  out-of-work, 
screen  actresses  ;  that  she  has  no  need  to 
go  outside  the  profession  for  her  protegee  ; 
that  the  whole  thing  savours  of  a  publicity 
stunt  in  the  interests  of  “  Smilin’ Through  ” 
and  that  its  inevitable  effect  will  be  to 
create  hundreds  of  screen-struck  flappers 
who  will  invade  the  profession  and  add  to 
the  present  distress.  In  saying  this  we 
do  not,  for  one  moment,  accuse  either  Miss 
Talmadge,  the  Daily  Sketch  or  Associated 
First  National  of  any  fraudulent  intentions 
— for  all  we  know  to  the  contrary,  they 
may  be  intending  to  fulfil,  to  the  best  of 
their  ability,  the  promises  they  make — but 
we  do  point  out  that  the  result  cannot  be 
for  the  good  of  the  British  film  industry 
and  British  artistes  which  this  journal 
represents. 


Veterans  of  the  Industry. 

(NN  another  page  references  are  made 
byWill  Day  to  the  history  of  Kine¬ 
matography  and  his  facts  will  be  of  great 
interest  and  value.  Mr.  Day’s  unique 
collection  is  now  housed  in  the  West 
Gallery  of  the  South  Kensington  Museum, 
and  contains  more  than  500  separate 
exhibits.  We  trust  that  the  film  trade  and 
its  members  will  not  be  lacking  in  a 
sentimental  regard  for  the  historic  asso¬ 
ciations  of  the  industry.  It  is  unfor¬ 
tunately  the  case,  that  in  the  past  the 
veterans  of  the  industry  have  been  denied 
the  recognition  and  appreciation  that  is 
their  right.  Mr.  Friese-Green,  to  whose 
invention  reference  is  made  elsewhere, 
and  on  whose  work  fortunes  and  fame  have 
been  founded,  was  allowed  to  die  in 
penury  and  obscurity.  Six  years  ago 
Will  Day  made  an  appeal  for  the  assistance 
of  Friese-Green,  who  was  then  in  need 
of  food  and  shelter.  And  it  was  Will  Day 
who,  although  having  seven  children  of 
his  own,  has  actually  adopted  the  two 
youngest  boys  and  placed  them  in  a  board¬ 
ing  school.  It  is  such  unselfish  acts  as 
this  that  lend  a  lustre  to  the  name  of 
this  great  industry. 


THE  MOTION  PICTURE  STUDIO 


October  28,  192 


I  BELIEVE 

in  Britain’s  opportunity. 

I  BELIEVE 

IN  FILM  ENTERTAINMENT. 

I  BELIEVE 

in  Anglo-Saxonism. 

I  BELIEVE 

IN  THE  POWER  OF  PRINTERS’  INK. 

I  BELIEVE 

IN  exploiting  personality. 

I  BELIEVE 

IN  COMMERCIAL  CO-OPERATION 


all  sides  I  hear  folks  in  the  picture 
business  complaining  that  British 
films  do  not  seem  to  be  able  to  penetrate  the 
fastnesses  of  the  American  film  trade  and 
secure  a  place  on  the  American  screens.  I 
am  not  convinced  that  they  are  justified  in 
all  they  say,  but  I  am  forced  to  admit  that, 
to  a  certain  and  well-defined  extent,  British 
films  have  not  captivated  the  American  public 
as  American  films  have  captivated  the 
British.  Having  now  had  considerable  ex¬ 
perience  of  the  business  on  both  sides  of  the 
Atlantic,  I  desire  to  place  on  record  my  views 
as  to  the  prospects  of  British  films  ,  in 
America. 

In  the  first  place  I  believe  from  the  bottom 
of  my  heart  that  the  American  public  is  just 
as  keen  to  pay  its  money  to  watch  good 
British  as  good  American  films.  To  my  mind 
the  talk  of  an  American  boycott  of  British 
films  is  so  much  verbal  trash.  But  to  get 
right  into  the  skin  of  the  Americans  a  film 
must  possess  certain  qualities.  And  first, 
foremost  and  fundamentally,  the  film  must  be 
entertainment.  It  may  be  other  things  be¬ 
sides,  but  primarily  it  must  entertain.  No 
matter  how  educational  or  moralising  or 
high-brow  a  film  is,  if  it  is  not  true  mental 
relaxation  and  recreation — entertainment — 
it  will  fail  in  America  or  anywhere  else.  I 
may  be  called  reactionary,  but  I  do  not 
believe  in  the  mission  of  the  screen  to  educate 
or  elevate  according  to  my  creed  it  may 
only  do  that  after  it  has  interested  and 
entertained. 

This  is  the  basic  principle  of  photoplay 
art.  And  if  you  observe  this  you  have  ob¬ 
tained  the  often  sesame  to  the  door  of  the 
world's  markets.  The  reason  is  that  true 
entertainment  appeals  to  the  humanity  of  man 
—and  the  humanity  of  man  is  universal. 

Which  brings  me  to  another  tenet  of  my 
film  faith.  I  disagree  with  those  who  think 
that  there  are  two  distinct  film  publics — the 
British  public  and  the  American  public.  I 
believe  that,  in  essential  principles,  what 
will  please  the  true  American  will  please  the 
true  Briton  because  they  are  of  the  same 
race. 

In  America — outside  of  the  cosmopolitan 
element — the  true-born  American  is  of  the 
same  blood,  with  the  same  mental  outlook 
and  regulating  his  life  on  the  same  tradi¬ 
tional  principles  as  the  true-born  Briton.  The 
Anglo-Saxon  race  is  the  same  the  world  over. 
And  when  Britishers  cease  producing  pic¬ 
tures  for  the  “  British  public  ”  or  for  the 
“  American  public,”  and  start  producing 
them  with  an  appeal  that  will  go  straight  to 
the  heart  of  the  average  Anglo-Saxon,  they 
will  have  found  out  one  of  the  secrets  of 
success  in  photoplay  production. 

It  can  be  accepted  as  axiomatic  that  the 
good  film  that  will  please  the  average  Ameri- 


MY  ARTICLES 
OF  FAITH 


can  will  please  the  average  Briton,  and  vice 
versa. 

And  now  I  want  to  declare  my  inborn 
belief  in  the  power  of  printers’  ink.  I  be¬ 
lieve  in  letterpress,  I  believe  in  the  Press. 
It  is  in  all  humility  that  I  say  to  my  friends 
in  the  British  film  industry — talk  about  your¬ 
selves  and  your  business  in  the  Press.  Never 
miss  an  opportunity  to  get  into  print.  Tie 
up  your  Press  publicity  on  every  possible 
angle.  Talk  about  your  director,  studio,  star, 
film,  cameraman,  story,  office  boy,  scenarist, 
doorkeeper — talk  about  anything  by  which 
you  and  yours  can  get  the  benefit  of  the 
power  of  the  Press. 

This,  so  far  as  this  country  goes,  appears 
to  be  not  so  much  a  neglected  art  as  an  un¬ 
discovered  science.  When  I  came  to  this 
country  some  years  ago  I  was  amazed  at  the 
quality  of  your  Press.  I  consider  that  your 
Kin  em  at  o  graph  Weekly  is  a  trade  journal  fit 
to  compare,  and  often  to  outrival,  the  film 
trade  productions  of  any  country.  This 
journal,  in  which  I  now  write,  has  nothing 
to  compare  with  it  in  the  world  in  its  class. 
Your  daily  Press  is  wonderful,  and  yet  this 
unique  and  incomparable  medium  for  popu¬ 
larising  the  industry  and  your  particular 
films  is  barely  and  rarely  used. 

Given  a  good  film,  I  believe  that  judicious 
Press  publicity  can  turn  it  into  a  huge  box- 
office  success.  You  must  popularise,  in  the 
advertisement  and  editorial  columns  of  the 
Press,  your  stars,  your  output,  your  future 
program,  your  directors  and  their  staffs.  It 
is  of  no  use  arguing  that  if  a  picture  is  good 


MAKING  A  STORM 


F.  L.  Granville  (in  glasses)  in  Africa  creating 
a  sand  storm  with  aeroplane  propellers. 


Zeitlin  went 

see  page  7 


Fred  Le'Roy  Granville  the  writer  of 
this  thought  provoking  and  outspoken 
article,  is  an  Australian  by  birth  and 
was  educated  in  New  Zealand.  After 
acting  as  field  naturalist  for  Colorado 
Museum  and  Kensington  Museum 
(London)  he  turned  to  a  screen  career. 
He  applied  his  knowledge  of  photo¬ 
graphy  to  films  and  was  chief  camera¬ 
man  to  Selig,  Pathe,  Fox  (on  "  The 
Beast”)  and  Universal.  He  also 
photographed  Mae  Murray  and 
Dorothy  Phillips'  features.  He  came 
to  London  two  years  back  and  directed 
Peggy  Hyland  in  "  Love  Maggie  "  and 
"The  Honeypot”  which  has  been 
distributed  in  America.  He  has  just 
completed  the  direction  of  Peggy 
Hyland  in  "Shifting  Sands/'  which 
F.B.O.  is  to  handle  in  this  country. 


it  ought  to  go  well  on  its  merit.  It  ought — 
but  it  won’t ! 

Then  I  want  to  say  that  you  must  exploit 
the  personality  of  your  British  artistes  in 
order  to  get  well  into  the  American  field.  1 
consider  that  there  are  in  this  country 
artistes  that  could  rank  among  the  world’s 
best.  They  possess  the  essential  of  screen 
success— personality.  But  that  is  not  suffi¬ 
cient.  You  have  got  to  sell  that  personality 
to  the  'public. 

In  America  the  system  is  to  regard  a  star’s 
personality  as  a  marketable  commodity.  It 
is  exploited  until  half  the  picturegoers  of  the 
States  have  come  under  the  influence  of  the 
star’s  charm.  In  order  to  assist  this,  some 
firms  send  her  to  the  most  expensive  modistes 
and  pay  her  bill  there.  Others  pay  her  a 
salary  sufficient  for  her  to  buy  the  latest 
Parisian  creations  herself.  In  whatever  way 
that  is  possible  for  the  star’s  personality  to 
be  developed  and  augmented  it  is.  This 
personality  is  then  kept  right  in  fronf  of  the 
eyes  of  the  public  until  both  the  star  and 
her  pictures  are  in  great  demand. 

I  sometimes  think  that  there  are  crowds 
of  real  stars  sitting,  Cinderella-like,  in 
studios,  who  could  make  the  fortune  of  the 
firm  that  had  the  wisdom  to  develop  and 
exploit  her  personality.  Anyhow,  you  can 
take  it  from  me  that  the  American  public 
simply  must  have  a  star.  You  will  get  into 
America  quicker  and  easier  if  you  hitch  your 
wagon  to  a  star  ! 

There  is  another  essential,  and  it  involves 
the  use  of  that  blessed  word  "co-operation.” 
But  I  mean  more  than  is  usually  meant  by 
that.  I  mean  self-protection  and  mutual  sup¬ 
port.  The  American  film  industry  was  built 
upon  this.  One  director  would  never  run 
down  another  director’s  film  to  outsiders. 
Every  man-jack  knew  that  the  industry  did 
not  belong  to  one  man,  but  to  all.  They 
knew  that  an  injury  to  a  member  of  the 
body  was  an  injury  to  the  body  and  all  its 
members.  They  planted  the  standard  of  the 
film  business  and  stood  shoulder  to  shoulder 
in  its  defence. 

So  soon  as  this  view  of  the  industry  is  taken 
it  means  that  every  good  production  will 
help  the  industry  and  every  bad  one  harm 
it.  Therefore  when  I  see  a  brother-director 
turn  out  a  winner  I  am  pleased  for  my  own 
sake  as  well  as  his.  And  when  I  see  an  out¬ 
sider  with  his  gun  drawn  to  shoot  I  get 
quick  on  the  trigger.  It's  my  industry  / 

In  conclusion,  I  want  to  express  my  con¬ 
viction  that  England  must  become  the  market 
place  of  the  world’s  films.  It  has  been,  and 
it  will  be  again.  And  if  I  may  add  to  the 
advice  already  given,  it  is  to  say,  don’t  wait 
for  the  public,  either  here  or  in  America,  to 
want  your  films — create  a  public  demand  for 
them  yourselves.  Boost  your  own  goods. 
Publicise  your  own  stars.  Don’t  cry-down 
your  rivals’  goods — beat  him  on  merit. 


6 


October  28,  192 


THE  MOTION  PICTURE  STUDIO 


Inti/male  Studio  Qossip 


Robert  G.  Vignola,  the  director  of 
“When  Knighthood  was  in 
Flower,”  has  been  unburdening  himself 
on  tihe  question  of  close-ups,  which 
he  would  eliminate  if  he  had  his  way. 
He  says  :  “We  have  too  many  of  them. 
After  a  tense  scene,  the  principal  char¬ 
acter  registers  a  series  of  pyrotechnic 
emotions  in  order  to  convey  to  the 
audience,  supposedly,  the  emotions  he 
or  she  is  experiencing.  iWhy  not  leave 
something  to  the  intelligence  and 
imagination  of  the  audience?  Let 
them  feel  something  !  Emotion  is  not 
acted,  it’s  felt.  And  when  we  have 
learned  that  more  can  be  expressed  by 
repression  than  by  any  amount  of 
emotional  acting,  we  shall  have  gone 
a  long  way.”  And  I  am  inclined  to 
agree  with  some  of  his  remarks. 


in  the  film  field.  “  I  have  been  greatly 
attracted  to  the  films  as  a  remarkable 
medium  for  presenting-  our  great,  his¬ 
torical  romances,”  he  said  in  com¬ 
menting  on  his  new  work.  “  The 
difficulty  has  been  that  historical  films, 
as  a  rule,  were  not  historical,  either 
in  story  or  setting.  When  I  saw  Mr. 
Blackton 's  production,  11  The  Glorious 
Adventure,”  a  story  of  the  reign  of 
King  Charles  I.,  I  was  greatly  im¬ 
pressed  with  the  detail  of  the  story 
and  scenic  'nvestiture.  I  got  in  touch 
with  Mr.  Blackton,  and  after  a  con¬ 
versation,  was  assigned  to  begin  re- 


AMERICAN  EDITORS 

and  PRESS  AGENTS 


In  the  belief  that  it  will  interest  my 
readers  to  know  the  latest  news 
about  Lady  Diana  Manners,  who  re¬ 
cently  began  her  second  film  engage¬ 
ment.  I  have  great  pleasure  in  giving 
the  following  particulars  which  have 
been  supplied  me  by  Mr.  Blackton’s 
office  : — Lady  Diana  motored  to  Hamp¬ 
shire  on  Sunday,  the  rear  seat  of  her 
car  being  filled  with  her  Elizabethan 
library.  A  charming  cottage  on  the 
edge  of  the  New  Forest  has  been  taken 
by  Lady  Diana,  who  will  have  her 
mother,  the  Duchess  of  Rutland,  and 
her  sister,  Lady  Violet  Benson,  with 
her  much  of  the  time  she  is  at  work 
in  the  making  of  this  picture. 

”  The  Virgin  Queen,”  which  is  the 
name  of  the  picture,  is  a  romantic 
drama  with  an  historical  background, 
which  allows  for  the  introduction  of 
many  attractive  scenes  of  Elizebethan 
pageantry.  For  over  a  year  Mr. 
Blackton  and  Harry  Pirie-Gordon,  a 
well-known  historical  writer,  have  been 
at  wrork  on  the  story  and  scenario  for 
this  film.  Extensive  research  has  been 
made  in  order  to  ensure  the  historical 
accuracy  of  story  and  setting,  as  well 
as  to  bring  out  the  most  interesting 
facts  bearing  on  the  complex  character 
of  Elizabeth  and  the  dramatic  and 
poignant  incidents  that  attended  her 
career.  Pirie-Gordon,  one  of  the 
recognised  authorities  on  English  his¬ 
tory,  has  personally  co-operated  with 
the  producer  in  making  certain  that 
every  detail  conforms  with  history  and 
with  the  art  and  spirit  of  the  time. 
This  is  Mr.  Pirie-Gordon’s  first  work 


This  Journal  waives  its  copyright  in 
any  and  all  of  the  Editorial  Features 
in  this  Special  Issue.  They  may  be 
reprinted  without  acknowledgment 


search  work  for  this  Elizabethan  story. 
That  was  nearly  a  year  ago.  I  have 
been  hard  at  it  ever  since.  But  Mr. 
Blackton  had  been  engaged  in  study  of 
this  period  some  time  before  that.” 

I  am  writing  these  notes  with  a  bad 
grace.  If  it  was  not  that  they  had 
to  be  written  to-day,  to  get  the  paper 
put  to  press,  I  should  be  at  the:  Hotel 
Cecil  drinking  the  health  of  Billie 
Bristow  ind  William  F.  Husband,  who 
are  being  married.  Billie  is,  of 
course,  the  smart  lady  publicity  ex¬ 
pert  who  has  done  more  than  anybody 
to  popularise  British  film  artistes  wirh 
the  public.  In  my  stuffy  office  I  toast 
them  ! 

Evidently  the  producing  business  "s 
bucking  up,  for  Frank  Zeitliin, 
the  casting  agent,  is  so-  busy  that  he  is 
having  to  seek  more  commodious 
premises.  He  has  secured  these  at 
26-32,  Shaftesbury  Avenue,  where  his 
business  will  be  organised  into  various 
departments,  one  of  which,  I  learn, 
will  be  a  Special  Publicity  Bureau  for 


to  America 

see  page  9 


a)  tismis  and  directors.  By  the  way, 
Mr.  Zeitlm  was  telling  me  a  good  little 
joke  apropos  his  recent  visit  to  the 
States.  It  appears  that  a  fellow- 
passenger  out  was  Marcus  Loew,  the 
head  of  Metro  and  a  number  of  other 
important  film  interests.  Mr.  Loew 
urged  Zeitlin  to  make  a  point  of  see¬ 
ing  New  Fork’s  high  buildings,  and  a 
a  lew  days  after  landing  Zeitlin  called 
on  Loew,  who  asked  him  if  he  had 
seen  the  high  buildings.  “Well,  ] 
walked  round  the  city,”  replied  Zeitlin, 
“but.  discovered  that  all  your  high 
buildings  are  Loew  ones  ?  ” 

I./as,t  week  the  ubiquitous  kinemato- 
graph  camera  invaded  the  sacred 
precincts  of  St.  Paul’s  Cathedral,  the 
interior  o!  which  was  filmed  for  the 
first  time,  when  Pathe  Hooded  the 
place  with  studio  lights.  Fhe  organ 
notes  of  the  afternoon  service  had 
scarcelv  died  away  when  the  Cathedral 
was  invaded  bv  a  strange  army — 
cameramen  bearing  tripods  and 
cameras,  electricians  busy  wlit-h  great 
lamps  and  coils  of  wire,  and  directors 
giving  swift  orders  in  unaccustomed 
whispers.  Suddenly,  with  a  hiss  and 
a  splutter,  the  Klieglights,  the  Cooper 
Hewitts,  and  the  500,000'  candle-power 
sun-arcs  ’  shone  out,  flooding  the 
Cathedral  with  the  cold,  clear  light  of 
the  studio-. 

On  completion  of  his  work  in 
“Hornet’s  Nest,”  Lewis  Gilbert 
will  undertake  a  somewhat  large 
order.  He  has  been  retained  by  a 
new  firm  to  direct  a  new  picture,  with 
quite  a  new  theme  (for  English  Pic¬ 
tures)  ,  and  with  a  new  star.  The 
theme  is  Japanese.  The  star  ist  a  Jap. 
Most  of  the  surroundings  are  Japanese. 
The  firm  is  hoping  to  place  before  the 
British  public  a  picture  that  will  run 
a  good1  rival  to  American  Japanese 
pictures  and  star.  Mr.  Gilbert,  who 
will  also  be  responsible  for  the 
scenario,  is  no  novice,  having  directed 
several  pictures  for  the  Everyman  Film 
Coe  He  has  undertaken  this  big 

order  with  every  confidence,  and  hopes 
to  carry  it  through  successfully.  I 
^  wish  him  every  success. 

/VjtoSj 


7 


the  motion  picture  studio 


October  28,  1922 


J.  Stuart  Blackton’s 

Successes 


J.  STUART  BLACKTON. 


“THE  GLORIOUS  ADVENTURE” 

The  First  Photoplay  to  be  made  in  Prizma  Natural  Colours- 

Featuring 

LADY  DIANA  MANNERS 

and  a  notable  cast  of  dramatic  artistes. 

AN  INTERNATIONAL  TRIUMPH  OF  FILM  ART 

American  Distributors  : — 

Allied  Artistes  Corporation,' 729,  Seventh  Avenue,  New  York. 


“A  GIPSY  CAVALIER” 

Featuring 

GEORGES  CARPENTIER 

Supported  by  a  Distinguished  Cast  Including 

FLORA  LE  BRETON 

HAILED  IN  LONDON  AS  AN  EXTRAORDINARY 

SUCCESS. 

“  Packed  with  thrills.” 

“  The  most  exciting  climax  ever  filmed.” 


Now  in  Production: 

“THE  VIRGIN  QUEEN” 

Featuring 

LADY  DIANA  MANNERS 

as  QUEEN  ELIZABETH 
With  a  Brilliant  Cast  Including 

CARLYLE  BLACKWELL. 


Being  Made  in  Natural  Colour  by  Prizma  and 
a  New  Process  of  Tinting  and  Toning. 


A  Drama  of  Thrills  and  Romance,  with  a 
Background  of  Sixteenth-Century  Pageantry. 


J.  STUART  BLACKTON  PHOTOPLAYS 


Bush  House,  Melbourne  Place,  Strand,  London,  W.C.2. 


American  Representative,  M.  L.  Malevinsky,  1482,  Broadway,  New  York. 


8 


October  28,  1922 


THE  MOTION  PICTURE  STUDIO 


BRITISH  STUDIO 
ORGANISATION 


TT  is  not  many  years  ago  when  a  British 
studio  was  simply  a  large  greenhouse  or 
the  odd  corner  of  a  building  mainly  used 
for  a  totally  different  purpose.  To-day  the 
Stoll  studio  at  Cricklewood  is  already  more 
like  a  small  city  than  a  greenhouse,  but  a 
city  in  which,  in  spite  of  the  fine  organisa¬ 
tion  under  the  management  of  Joe  Gross- 
man,  the  habits  and  customs  have  not  yet 
become  rigid  or  merely  mechanical,  as  they 
would  be,  for  instance,  in  a  merely  indus¬ 
trial  factory  of  a  similar  magnitude.  Films 
in  this  country  are  not  yet  turned  out  like 
sausages. 

When  the  negative  has  been  developed, 
given  its  cold  and  acid  bath,  wound  from 
the  developing  frame  on  to  the  wooden 
drums,  with  a  diameter  of  about  eight  feet, 
on  which  it  is  whirled  round  in  the  drying 
room  heated  by  electric  radiators,  it  is 
generally  examined  by  the  director  as  well 
as  the  cameraman  before  it  is  passed  for 
printing. 

There  are  also  dry-cleaning  machines, 
made  by  Debrie,  in  which  the  film  is 
brushed  by  an  endless  band  of  miniature 
chamois  leather  dusters. 

There  is  quite  a  large  theatre  with  a  silver 
Lawrence  screen  for  a  rough  run  off,  and 
a  well  fitted  titling  room.  There  is  also  a 
large  and  well  equipped  still  department. 

The  wardrobe  department  is  full  of 
clothes  and  wigs  which  have  become  in¬ 
corporated  into  film  industry  owing  to  their 
associations.  Some  of  the  property  actually 
belongs  to  national  history,  such  as  the 
early  fashion  in  khaki  hats,  those  actually 
worn  in  the  Boer  War. 

Then  there  are  the  clothes  in  which  the 
hero  of  “The  Tidal  Wave  ”  was  nearly 
drowned,  the  bald  head  worn  by  the  Fakir 
in  “The  Place  of  Honour,”  and  old  wigs 
with  vegetable  net  partings,  the  art  of  mak¬ 
ing  which  seems  to  have  passed  “We  can 
fit  up  500  soldiers  in  khaki  in  three  hours,” 
says  the  wardrobe  master,  “and  250  con¬ 
victs  in  24  hours.” 

In  the  Large  property  rooms,  situated 
undqr  the  “deck  ”  floor,  anything,  it  is  said 
(except  personal  attire),  can  be  obtained, 
from  a  toothpick  to  a  pickaxe,  from  a  jack- 
in-the-box  to  an  old  master. 

Everything  which  goes  out  is  marked  with 
the  number  of  the  set  in  which  it  is  to 
be  used,  everything  is  catalogued  and 
checked  out  and  checked  in,  so  that  any¬ 
thing  can  be  traced.  The  whole  place  looks 
like  a  glorified  old  curiosity  shop. 

In  the  modelling  department  figures  and 
statues  are  made  in  papier-mache.  The  pro¬ 
cess  involves  the  making  first  of  a  clay 
model,  then  a  plaster  mould,  into  which  the 
wet  paper  is  fitted. 

Three-ply  is  the  great  resource  in  studio 
scenery.  Even  Newgate  Jail  (in  “  The 
Glorious  Adventure  ”)  was  made  of  it ! 

The  carpenter’s  shop,  then,  with  a  floor 
9pace  of  about  60  feet  by  40,  is  as  impor¬ 
tant  as  any  department.  The  scenery  work 
here  is  under  the  direction  of  the  art  director, 
who  is  responsible  for  the  sets  from  the 
time  the  scenario  is  handed  to  him  to  the 
time  the  scene  is  shot.  This  is  a  big  re¬ 
sponsibility,  considering  that  a  huge  ban¬ 
queting  scene  may  be  taken  next  to  a  jail, 
with  a  church  and  a  gambling  den  on 
another  floor,  ail  at  the  same  time. 

All  the  four  directors  (Maurice  Elvey,  Sin¬ 
clair  Hill,  George  Ridgwell,  and  A.  E. 


Coleby)  have  their  own  offices-  with  their 
own  cutting  rooms,  etc. 

Like  the  treasures  they  really  are,  the 
finished  films  are  stacked  in  vaults,  five  of 
them  with  ten  shelves  each  and  teak  doors, 
two  being  for  negatives  and  the  others  for 
prints. 

There  is  also  the  stores  department, 
where  new  machinery,  accessories,  etc.,  are 
received. 

Under  the  “  deck  ”  floor  a  new  generator 
of  130  kilowatts  is  installed.  The  electrical 
equipment  includes  twenty  banks  of  Cooper- 
Hewitt  mercury  vapour  lamps  (used  chiefly 
for  special  effects),  three  Sunlight  arcs  (one 
of  which  with  a  mirror  has  a  three  million 
candle  power),  twenty  Wohl  broadsides,  six¬ 
teen  Wohl  duplex  top-lights,  fifteen  Wohl 
tilts,  thirteen  Kleigl  spot-lights,  and  twelve 
tilts,  thirteen  Y\  ohl  top-lights.  For  one  scene 
nine  or  ten  broadsides,  a  Sunlight,  an 
indirect  and  a  spot-light  are  often  used  at 
once. 

There  are  whole  galleries  of  dressing- 
rooms,  suggesting  ships’  cabins,  well 
equipped  with  looking-glasses,  basins,  etc. 

Most  interesting  of  all  are  the  three 
"floors,”  the  largest  (that  which  was  used 
for  “  The  Glorious  Adventure  ”)  being  400 
feet  by  70  feet. 

Lastly,  there  is  the  most  popular  depart¬ 
ment  of  all — the  canteen.  It  is  really  some¬ 
thing  more  than  that,  for  it  contains  a 
refreshment  room  for  stars  and  heads  of 
departments,  20  feet  by  20;  another  for 
small  part  artistes  and  supers,  27A  feet  by 
20 ;  and  a  staff  messroom,  45 1  feet  by  20. 

I  his  restaurant  has  a  wonderfully  equipped 
kitchen,  401  feet  by  15,  in  which  all  the 
cookery  is  by  electricity.  Sometimes  hun¬ 
dreds  of  extra  meals  have  to  be  prepared 
at  very  short  notice,  A  '.good  lunch  can 
be  obtained  for  is.  3d.  ;  breakfast  can  be 
obtained  at  q  o’clock,  and  up  till  10  supper 
is  served  to  artistes  who  work  by  night. 


FLASH  BACKS 


|  DO  not  agree  that  our  own  artistes  are 
being  penalised  by  Americans  appear¬ 
ing  in  our  films.” — Herbert  Thompson 
[Granger). 


“  Kinematograph  has  placed  in  our  hands 
the  opportunity  of  leaving  to  posterity  a 
vivid  and  exact  record  of  contemporary 
events  of  historical  value.” — Daily  Telegra-ph, 


“  Wherever  American  films  gain  the  upper 
hand  the  probability  is  that  the  export  of 
British  goods  to  that  particular  territory 
suffers.” — J.  E.  Pryde-Hughes. 


“  Kinema  pictures,  properly  organised  and 
selected,  are  of  the  greatest  value  to  educa- 
tion,  and  yet  are  so  far  hardly  used  at  all.  ” 
- — Lord  Montagu  of  Beaulieu. 


“It  is  quite  imposible  on  the  film  to  re¬ 
produce  the  illustration  of  the  individual 
character.” — Henry  Henderson. 


“  The  kinema  has  been  a  curiously  disturb¬ 
ing  invention.” — John  0’ 'London  Weekly. 


for  the  General 

see  page  13 


This  remarkable  film  city,  or  art  factory, 
covers  an  area  of  27,993  ft.,  and  still  seems 
flushed  with  pleasure  at  its  own  daring  in 
being  converted  from  an  aeroplane  factory 
to  artistic  use. 

Another  very  large  studio  in  London  is  the 
F.P.-Lasky  building  at  Islington.  This  is 
modelled  on  the  best  American  lines,  and 
Major  Bell,  the  studio  manager,  has  reduced 
the  organisation  to  a  fine  art. 

Studio  organisation,  as  we  understand 
the  term  to-day,  is  nothing  more  than  a 
specialised  system  applied  to  the  production 
of  motion  pictures,  a  system  by  which 
energy,  time  and  money  are  husbanded 
by  steady  concentration  in  one  direction  and 
not  dissipated  in  a  number  of  extraneous 
issues. 

By  this  means  the  director  of  to-day  is 
able  to  give  his  entire  attention  to  his  stow 
and  its  production,  without  having  to  worry 
about  such  matters  as  getting  a  cast 
together,  running  up  a  set  or  superintend¬ 
ing  the  exigencies  of  the  leading  lady's 
screen  wardrobe. 

The  staff  receives  its  orders  from  de¬ 
partmental  heads  and  are  responsible  to 
them  directly  in  all  matters  pertaining*  to 
their  respective  duties.  Only  heads  of 
departments  are  in  direct  touch  with  the 
studio  manager. 

Every  new  member,  on  starting  work  at  the 
studio,  receives  a  copy  of  a  chart,  so  that 
he  can  make  himself  conversant  with  the 
general  organisation  of  the  plant  and  under 
what  heading  his  duties  automatically  place 
him.  On  the  first  of  every  month  a  list  is 
issued  giving  the  names  of  the  whole  staff 
grouped  beneath  departmental  heads. 

Tire  “  pictoiial  ”  group  indicated,  such 
as  draughtsnren,  carpenters,  painters,  pro¬ 
perties,  engineers,  etc.,  co-operate  in  their 
work  under  the  chief  art  director  as  the 
head  of  their  combined  departments. 

The  cameramen  are  attached  to  their  own 
particular  directorial  group  during  the 
making  of  a  picture.  They  take  their  orders 
from  the  director,  who,  for  the  time  being, 
is  their  departmental  head.  When  the  pic¬ 
ture  is  finished  they  come  under  the  Studio 
Manager,  as  always,  for  administration,  who, 
after  a  consultation  with  his  producing  staff, 
decides  under  which  director  they  are  to 
work  for  their  next  picture. 

A  few  minutes  after  the  scenario  of  a  new 
production  has  passed  officially  into  the 
hands  of  the  studio  management,  a  con¬ 
ference  is  held,  attended  by  all  the  heads  of 
departments.  After  half  an  hour’s  discus¬ 
sion,  each  chief  knows  really  what  is 
expected  of  him,  and1  the  assistant  director 
has  only  to  notify  the  various  departments 
when  the  different  sets  and  costumes  or  other 
effects  will  be  required. 

Donald  Crisp  only  needed  fifteen  days  to 
film  “The  Princess  of  New  York.”  Fifteen 
sets  were  built,  “dressed”  and  “shot  ”  m 
seven  days — which,  we  think,  constitutes 
something  of  a  record  in  the  British  produc¬ 
ing  business. 

o  < 

With  this  system  of  centralised  organisa¬ 
tion,  any  director  who  gets,  let  us  say,  a 
happy  inspiration  at  five  o’clock  in  the  after¬ 
noon,  which  necessitates  a  slight  alteration 
in  the  story,  can  call  for  a  new  set  to  be 
built  bv  nine  o’clock  the  following  morning  : 
and,  what  is  more,  find  it  ready  for  him  at 
the  stipulated  time. 


THE  MOTION  PICTURE  STUDIO 


October  28,  1922 


ADRIENNE  M0NCR1EFF 

‘  Patricia  Brent, 
Spins!er.’ 

‘Sinless  Sinner.' 

‘Gentleman  Rider.' 

‘  All  the  Winners/ 

‘Dear  Fool.' 

‘  Haigh  of  the 

y  Yard.’ 

‘  Carnival. Vi 

’ 

•  4* 

‘  Game  of  Life.’ 


DOROTHY  FANE 


Beside  the  Bonnie 
Brier  Bush,” 
“Princess  of  New 
York,” 

“Three  Live 
Ghosts”  ( Fam¬ 
ous  Lasky), 

‘  ‘  In  the  Night, 
Bulldog 

Drummond 
( Hollandia ). 

ALL  DIRECTED 
BY  AMERICANS. 

Corns  :  KINEMA  CLyB. 

Regent  2131. 


A.  BROMLEY  DAVENPORT 

CHARACTER  ACTOR. 

Leading  Parts  in 

“The  BIGAMIST,” 

“The  PERSISTENT  LOVERS,” 
“FOX  FARM,” 

“  BOY  WOODBURN,” 

AND 

“MAID  of  the  SILVER  SEA.” 

All  communications  to: 

c/o  175,  WARDOUR  ST„ 
LONDON,  W.l. 


t-vON 


— 0000®$$ - 

British  Films  for  American  Screens. 

- 0000000 - 

“  Sheri  ock  Holmes  Adventures  ’ 

“  Prince  of  Lovers 
“Masters  Short  Films  ’ 

Shifting  Sands 

“A  Woman  of  No  Importance 


MILES 

MANDER 

Lead  in  Adrian  Brunei’s 

“BROKEN  SAND” 

ATLAS  BIOCRAFT  CO.,  LTD,, 
16,  Albemarle  Street,  W.L 


HENRY  VIBART 

Plays  Leading,  parts  in  : — 

UA  Woman  of  No  Importance/’ 

u  C  •  tt 

ocma, 

“  A  Bill  of  Divorcement,” 
“The  Bohemian  Girl,” 


and 


“  Flames  of  Passion  ”  with  Mae 
_  _ _  Marsh. 

All  communications  to  : — 

HENRY  VIBART,  24,  Cleveland  Rd.,  Barnes,  London,  S.W.13 


I7TAT  CT  World-wide 

V  J.Vy EE  X  Screen  and 

ELLIOTT 

Grande  Dame  &  Character 
parts  in : — 

“  Gentleman  Rider,”  “  Romance 
of  a  Movie  Star,”  and  “  White 
Hope  (Walter  West).  ‘‘The 
Kinsman,”  “  City  of  Beautiful 
Nonsense’’  and  “World  of 
Wonderful  Reality”  (Hepworth) 
“Edge  ot  Youth”  (Gaumont), 
etc,,  etc. 

Corns:  120a,  Kensington  Park  Road,  W.l  1. 

Park  854. 


HETTA 

BARTLETT 


Stage  and  Screen 


Experience 


•  •  •  • 

•  #  •  • 


“A  Woman  of  No 
Importance”  and 

“  SONIA” 

(“  The  Woman  Who  Came  Back," 
American  Title), 

16,  Great  Ormond  Street  London,  W  C. 

WALTER 

SUMMERS 

Photo  Playwright. 

®  ®  ® 

British  Super  Films 

(Samuelson’s) 

MOTION  PICTURE  CAMERAS 

BOUGHT,  SOLD  and  EXCHANGED. 

Projectors  &  Accessories  on  Hire. 

Repairs  of  all  kinds. 

Experimental  Work  in 
Natural  Colour  Kinematography. 

HO  Years *  Experience. 

JOHN  SALTER, 

Established  1896. 

Cinematograph  Engineer  &  Electrician, 

13,  Featherstone  Buildings,  London,  W.C. 

TELEPHONE:  7408  CHANCERY'. 


10 


October  28,  1922 


THE  MOTION  PICTURE  STUDIO 


IDA  FANE, 

The  English 
'  Flora  Finch 

Comedy,  Character  or 
Patriotic  Parts. 

17  WOOD  STREET, 

WOOLWICH,  S.5.I8. 


D.  P.  COOPER, 

MOTION  PICTURE 
PHO  TOGRAPHER. 

Photographer  of  over  200  picture 
plays,  including; 

Call  of  the  Road,  "Fifth  Form 
at  Stt  Dominies,  “  Froggy’s  Little 
Brother,  ‘‘The  Peacemaker,” 
‘‘Long  Odds.” 

Now  working  on  “  Prodigal  Son.” 

151,  KEW  ROAD,  RICHMOND,  SURREY. 


Emile  L.  Lauste 

Cameraman  to  Mr.  G.  Pearson 
(Welsh — Pearson  Films) 

Always  interested  in  new 
systems,  Optical,  Chemical, 

M  echanical,  or  Illuminating, 
for  the  further  improvement 
of.  motion  picture 
photography 

Latest  Films  Photographed  : — 

“  Garryowen,” 

Nothing  Else  Matters,” 

“  The  Old  Curiosity  Shop,” 

“  Mary — Find — The— Gold,” 

“  Squibs,’' 

“  Mord  Emdy,” 

Wee  Macgreegor’s 

Sweetheart,” 

“  Squibs  wins  the 

Calcutta  Sweep.” 

All  Communications  : — 

70,  WENDELL  ROAD, 
SHEPHERD’S  BUSH, 
LONDON,  W.12. 


Edith  Bishop 

Lead  in  ‘‘LONG  ODDS” 
(Stoll  Production). 

Now  playing  Lead  with  Stewart 
Rome  and  Henry  Victor  in 

‘‘THE  PRODIGAL  SON”  (Stoll). 

56,  CLARENCE  GATE 
GARDENS - N.W.l. 

Telephone  :  Paddington  2143. 


\  /s°\  /Ail  fy*h. 


romm 


to  U 


©  O 


000000000 

British  Films  for  American  Screens. 

000000000 

“  Squibs  ” 

(as  “Me  and  My  Girl’  ) 

“Gypsy  Cavalier” 

“  The  Better  ’Ole  ” 

“  Rob  Roy  ” 

“  Duke’s  Son  ” 


Sq  V  V  1*0  V  V  T'o  V  Is o  V  is o  V 


v 'Jon  VeN  'J#N  'Jqn’ 


DOROTHY  SCOTT. 

-  M  rs.  Carruthers  ”  in 
“THE  BIGAMIST.” 

COMS.  : 

12,  Harrington  Court ,  S.  W.7 

JACK  .  ~ 
JARMAN 

LATEST  ENGAGEMENTS  :  - 
Heavy  Lead  in 

Three  of  Masters’  Sporting  Dramas. 
H  eavy  Lead  in 

“Little  Cuckoo  Flower’  (Prout). 

Address — - 

LITTLE  THEATRE 

or 

161,  Wymering-  Mansions,  Maida 
Vale,  W.9. 


BILLIE  BRISTOW, 

press  Hgent. 

American  and  British  Artistes'  and  Firms 
Publicity  Conducted. 

175,  WARDOUR  STREET, 
LONDON,  W.l - ENGLAND. 

TELEPHONE  GERRARD  240. 


ADRIAN 

BRUNEL 

wbo  plays  heavy  lead 
in  bis  Morocco-Spanish 
production — 

“BROKEN  SAND” 

ATLAS  BIOCRAPT  COMPANY,  LTD., 
16.  Albemarle  Street,  W 1. 


THE  MOTION  PICTURE  STUDIO 


October  28,  1922 


I 


ADRIAN  BRUNEL, 

Director  and  Scenarist. 


Now  in  Italy,  Directing 

IVOR  NOVELL O. 

ATLAS  BIOCRAFT  COMPANY,  LTD., 
16,  Albemarle  Street,  W.  1. 

{General  Manager :  MILES  MANDER) 


Tout  US  to  Uc 


- - 


British  Films  for  American  Screens. 


— ®®®®®®® — 

“  Love  Maggie  ” 

‘  Demos” 

“  Honey  Pot  ” 

“  Flames  of  Passion  ” 

“  Garden  of  Resurrection  ” 


David  Grey. 


Next 

Trade  Show: 
THE  MAZE 

VACANT  SHORTLY. 

C  o  M.P.S., 

93,  Long  Acre. 


THERE 

IS 

ONLY 

ONE 

PAPER 

that  is  solely  devoted 
to  British  films  and 
British  film  workers. 
It  is  impossible  to 
keep  in  touch  with 
the  British  producing 
field  unless  you  read 

THE  MOTION  •  • 
PICTURE  STUDIO 

SEE  PAGE  THIRTY-THREE 


MAURICE  P.  THOMSON 


“  THE  FIFTH  FORM  AT  ST.  DOMINIC’S"  (Davidson— A.  E.  Coleby) 
“TtiE  PEACEMAKER  ”  (Stoll-  A.  E.  Coleby) 

“LONG  ODDS"  (Stoll— A.  E.  Coleby) 

“THE  PRODIGAL  SON  (Stoll- A.  E.  Coleby) 

FORTHCOMING  RELEASES  : 

''FROGGY'S  LITTLE  BROTHER” 

( Stoll — A.  E ,  Coleby) 

“Daily  Mail'’  11  One  of  the  greatest  child  actors  the  screen 

has  yet  found.'’ 

‘A  SOULS  AWAKENING” 

(Gaumont — VZ.  P  Kellino) 

“ Cinema ”  ‘'MAURICE  THOMSON  as  Jim  is 

undoubtedly  a  boy  actor  who,  in  t  hese  particular 
roles,  has  no  equal  — either  here  or  in  America 

All  Communicat ions  . — 

45,  CAVENDISH  BUILDINGS, 
CLERKENWELL  ROAD,  HOLBORN,  E.C.1. 


12 


October  28,  1922. 


THE  MOTION  PICTURE  STUDIO 


ENGLAND  LEADS  AMERICA  ! 

Ernest  G.  Allighan  seeks  to  prove  that  long  before  Kinematography 
discovered  America  England  discovered  Kinematography 


HHH'ERE  is  no  wisdom  in  blinking  the 
fact  that  during  the  last  decade  the 
British  film-producing  industry  has  allowed 
itself  to  be  thrust  far  in  the  background  by 
the  Americans.  We  do  not  blame  America 
for  this.  On  the  reverse  :  she  is  to  be:  com¬ 
plimented  on  having  used  every  means  to  ’ 
forge  ahead.  Her  commercial  opportunism 
is  a  credit  to  her  and  an  example  to  this 
country. 

At  the  same  time  the  backwardness  of  the 
British  Industry  is  a  matter  for  astonish¬ 
ment  if  only  because  of  the  fact  that  we  were 
first  in  the  field  and  had  a  long  start  of  the 
United  (States  in  kinematographic  matters. 
The  film  history  of  the  U.S.A.  compared 
with  that  of  this  country  is  analogous  to  the 
political  history  of  the  U.S.A.  compared 
with  this  country.  This  country  is  the  real 
birthplace  of  the  kinematographic  art  as  she 
is  of  the  stage  art.  Even  as  we  write  there 
is  at  least  one  film  director  at  work  in  this 
country  who  has  been  actively  engaged  in 
making  films  for  nearly  a  quarter  of  a  cen¬ 
tury.  In  his  early  days  it  was  not  at;  all 
infrequent  for  as  many  as  fifty  copies  of  his 
films  to  be  despatched  across  the  Atlantic 
f  or  American  screens. 

A  few  months  before  the  war  there  were 
producing  concerns  in  this  country  as  rela¬ 
tively  prosperous  as  Fox  and  Las'ky  is  in 
America  to-day  when  those  two  particular 
firms  were  struggling  to  get  out  of  their 
swaddling  clothes.  Both  William  Fox  and 
Adolph  Zukor  frankly  admit  this — they  even 
admit  that  they  learned  their  business  from 
European  film  directors  whom  they  have 
since  completely  overshadowed. 

When  William  Fox  first  decided  to  make 
photoplays  himself  instead  of  merely  being 
the  distributor  of  the  productions  of  other 
firms,  he  sent  Gordon  Edwards  to  Europe 
“  to  find  out  how  a  moving  picture  should  be 
made  and  to  get  the  best  ideas  as  to  studio 
construction.” 

That  was  in  1912,  and  about  the  same  time 
Adolph  Zukor,  the  founder  of  the  Famous 
Players-Lasky  Corporation  of  America, 
started  the  vast  organisation  by  buying  the 
American  rights  of  the  film  “Queen  Eliza¬ 
beth,”  in  which  Sarah  Bernhardt  plays  the 
leading  role.  With  this  as  his  incentive 
Zukor  began  to  make  films  himself. 

Charles  Urban,  the  premier  director  of 
educational  films,  has  declared  that  he 
learned  all  he  knows  of  the  business  in  this 
country. 

Other  instances  :  Mr.  Ponting’s  first  films 
of  Captain  Scott’s  Antarctic  Expedition,  and 
Dr.  Haddon’s  films  of  the  islands  of  the 
Torres  Straits,  and  H.  Haydon’s  films  of 
Northern  Australia,  and  Paul  Rainey’s  »film 
of  the  East  African  hunting  expedition 
(famous  for  the  pictures  of  a  wounded  lion 
advancing  to  within  4  feet  of  the  camera 
and  being  abruptly  stopped  by  a  bullet  from 
Mr.  Rainey’s  gun) — all  these  anticipated,  by 
several  years,  the  same  sort  of  films  that 
have  subsequently  come  from  America. 

V  ill  Day,  the  veteran  in  kinematography, 
possesses  a  unique  collection  of  motion-pic¬ 
ture  apparatus,  photos  and  authenticated  re¬ 
cords,  which  have  recently  been  given  a  State 
exhibition  in  the  Science  Section  of  the 
South  Kensington  Museum,  and  his  state¬ 
ments  on  the  history  of  kinematography  are 
accepted  as  from  an  unimpeachable 
authority.  He  stated  recently  in  the 
Illustrated  TLondon  News  that  the  optical 
lantern  was  first  produced  and  brought  before 
the  public  by  Athanasius  Kircher,  a  German 
Jesuit  of  Geiss  (Hesse  Cassel),  who  in  1640 
made  his  first  magia  catoptrica,  or  magic 


lantern.  The  Jesuit  College  at  Rome  was 
crowded  nightly  with  the  nobility  and 
wealthy  citizens  to  witness  the  projection  of 
a  few  crudely  painted  slides  of  demons  and 
sfTelc-tons.  The  lantern  consisted  of  a  cylinder, 
in  the  front  of  which  was  fixed  a  concave 
glass.  Inside  was  fixed  a  parabolic  reflector, 
and  in  the  focus  of  the  mirror  was  a  candle. 
It  is  a  query  if  the  credit  of  producing  the 
first  moving-picture  machine  ought  not  to  be 
accorded  to  Kircher,  though  it'  was  not  pro¬ 
duced  to  show  motion.  A  species  of  drum, 
with  eight  flat  sides,  each  carrying  a' different 
object,  was  used  in  the  moving-picture 
machine,  reflecting  on  to  a  mirror  hung  upon 
the  wall  at  the  correct  angle  to  view  each 
successive  picture  when  the  drum  was  re¬ 
volved. 

The  first  to  record  specific  data  as  to  per¬ 
sistence  and  movement  was  Dr.  Peter  Mark 
Roget,  Secretary  of  the  Royal  Society,  who 
in  1824  read  a  paper  before  the  Royal  Society 
on  “Persistence  of  Vision  with  Regard  to 
Moving  Objects,”  subsequently  published  in 
the  Quarterly  Review  in  1825.  This  paper 
made  possible  the  science  of  kinematography. 
Dr.  Roget  became  interested  in  the  subject 
by  watching  the  wheels  of  a  baker’s  cart 
through  the  spaces  of  a  Venetian  blind. 
Although  the  wheels  of  the  cart<  were  re¬ 
volving  rapidly,  by  glancing  his  eyes  up 
and  down  the  blind,  the  laths  of  which  acted 
as  a  series  of  shutters,  he  received  a  number 
of  momentary  impressions  of  the  wheels 
being  stationary. 

The  first  instrument  to  produce  apparent 
motion  from  an  inanimate  drawing  was  the 
Thaumatrope,  and  was  invented  by  Sir  John 
Herschell  in  1826,  but  was  produced  by  Dr. 
Paris,  who  exploited  it  commercially. 

Dr.  Plateau  in  Ghent,  and  Dr.  Stampfner 
of  Vienna,  gave  time  and  study  to  the 
theories  put  forward  by  Dr.  Roget.  In  1833 
both  produced  the  same  type  of  disc  instru¬ 
ment  simultaneously,  the  former  calling  his 
the  phenakistoscope  (afterwards  called  the 
fantoscope)  and  the  latter  the  stroboscope. 
In  the  instrument  tihe  eye  was  brought  as 
near  the  slotted  disc  as  possible,  the  moving 
picture  being  clearly  seen  in  the  viewing 
mirror  when  the  disc  was  revolved. 

In  1834  Dr.  Horner,  a  native  of  Bristol, 
invented  the  dsedaleum  and  gave  a  full 
description  of  the  instrument  in  the  Philo¬ 
sophical  Magazine  in  1834.  This  apparatus 
was  patented  by  a  Frenchman,  Devigny,  in 
i860,  and  called  by  him  the  zoetrope,  or 
wheel  of  life. 

A  Greenwich  man.  Mr.  Beale,  in  1866 
invented  the  choreutoscope,  a  clever  instru¬ 
ment  which  contains  practically  all  the 
elements  of  the  presen 7-day  Maltese-cross  pro¬ 
jector. 

Professor  Marey  commenced  his  research 
on  the  analysis  of  motion  on  the  outskirts 
of  Paris  in  1870,  using  photography  to  secure 
the  wonderful  movements  of  birds  and 
animals  subsequently  recorded  by  him. 

To  Edward  Muybridge,  of  Kingston-on- 
Thames,  praise  is  due  for  his  efforts  to 
reproduce  by  a  series  of  48  cameras  the 
various  movements  of  human  beings  and 
animals.  In  1872  he  journeyed  to  San  Fran¬ 
cisco  to  settle  a  wager  for  ,£5,000  made 
between  two  American  millionaires  as  to 
whether  a  horse,  in  trotting,  lifted  all  four 
feet  off  the  ground  at  once  or  not.  He 


Advancement  of  the 

see  page  14 


I  proved  by  a  series  of  reconstructed  photo- 
|  graphs  upon  a  machine  he  ca%d  the  zoo- 
I  praxis-cope  that  all  four  feet  were  off  the 
.  ground  at  the  same  time.  He  later  gave 
his  services  to  Pennsylvania  University. 
Before  completing  his  photographic  records 
of  movement  he  spent  a  sum  of  no  less  tihan 
£40,000. 

If  any  one  man  can  be  styled  the  inventor, 
or  “father,”  of  commercial  kinematography, 
that  title  can  justly  be  bestowed  upon  the 
late  W.  Friese-Greene.  He  commenced  his 
first  experiments  with  motion-picture  photo¬ 
graphy  before  1885,  and  in  that  year  pro¬ 
duced  the  first  film  upon  paper,  using  per¬ 
forations  down  each  side  of  the  margins. 
Clever  as  this  was,  Mr.  Friese-Greene  was 
not  content.  After  years  of  close  study  and 
labour,  during  which  he  spent  nearly  every 
penny  he  possessed,  and  had  all  but  given  up 
in  despair,  the  thought  came  to  him  to  try 
celluloid  as  a  base  for  his  photographs. 
After  discarding  glass,  gelatine,  paper,,  etc., 
as  unsuitable  mediums,  he  secured  his  first 
pictures  upon  celluloid  in  1889,  and,  to¬ 
gether  with  Mr.  Evans,  a  clever  engineer, 
who  assisted  Him  with  the  mechanical  con¬ 
struction  of  his  camera,  was  granted  a  patent 
for  his  process,  No.  10,131,  in  that  year. 

Edison  began  to  take  an  interest  in  kine- 
matographv  about  1877,  trying  to  secure 
photographic  negatives  of  microscopic  pro¬ 
portions  upon  a  spiral  celluloid  cylinder. 
The  patent  specification  of  his  kinetoscope 
was  filed  in  1891  in  the  United  States. 
This  machine  used  the  same  standard  size 
of  film  which  we  use  to-day,  known  as  the 
Edison  standard.  It  has  four  perforations 
oil  the  margin  each  side  of  the  picture,  and 
the  actual  photograph  measures  1  inch  by 
|  inch,  thus  giving  exactly  16  pictures  to 
each  foot  of  film. 

One  of  the  earliest  forms  of  illuminant 
that  was  such  an  essential  aid  to  the  suc¬ 
cessful  projection  of  motion  pictures  was  the 
oxy-hydrogen  light,  first  produced  by  Drum¬ 
mond.  In  its  production  he  used  a  cylinder 
of  lime.  The  first  automatic  regulator  was 
produced  by  'R.  R.  Beard.  Electricity  was 
introduced  as  an  illuminant  for  the  optical 
lantern  about  1855-60.  One  of  the  first 
successful  arc  lamps  was  produced  by  John 
Browning.  This  lamp  burned  two  sticks  of 
charcoal,  and  the  generator  consisted  of  a 
six-cell  Groves  battery.  The  automatic  arc 
lamp  of  Duboscq,  of  Paris,  and  the  Brockie- 
Pell  were  others. 

From  this  date  onward  followed  com¬ 
mercial  kinematography.  Charles  Urban 
was  responsible  for  the  success  of  the  \\  ar- 
wick  Trading  Co.,  and  later  the  Urban 
Trading  Co.  Joe  Rosenthal  was  the  first  to 
tour  the  world  with  a  motion-picture  camera, 
securing  pictures  of  Kruger,  the  Boer  and 
Russo-Japanese  Wars  and  the  Philippine 
War.  His  were  the  wonderful  pictures  of 
■the  White  Sea  Fisheries. 

The  original  biograph  pictures  shown  at 
the  Palace  Theatre  in  1897  were  patented 
by  Mr.  Casl-er,  an  American,  assisted  by  Mr. 
Hamburger,  of  the  Dover  Street  Studios. 

John  Wrench  and  J.  Priestwich  received 
their  first  tuition  in  the  manufacture  of  kine- 
matograph  apparatus  from  W.  Friese-Greene 
in  1896. 

From  all  of  this  it  is  perfectly  obvious 
that  the  beginning  of  the  art  of  kinemato- 
giaphy  commenced  in  Europe,  and  that 
America  has  only  improved  upon  what  Great 
Britain  has  initiated.  And  yet  in  face  of 
this  fact  Britain  is  now  lagging  behind, 
i  What  is  the  reason? 


13 


THE  MOTION  PICTURE  STUDIO 


October  28,  1922 


A  FEW  CLOSE-UPS 


DOROTHY  FANE,  during  the  two  years 
in  which  she  has  devoted  her  time 
wholly  to  film  work,  has  played  in  seven¬ 
teen  film  productions.  Already  five  films  in 
which  she  appears  have  been  released  in  the 
United  States.  These  comprise  “  Beside  the 
Bonnie  Brier  Bush,”  “Princess  from  New 
York,”  “Three  Live  Ghosts,”  “In  the  Night” 
and  “Bulldog  Drummond.” 

KINCHEN  WOOD  studied  film  production 
on  the  scenario  staff  of  the  Fox  Studios 
in  Los  Angeles.  Since  his  return  to  England 
about  a  year  ago  he  has  completed  sixteen 
scenarios  for  British  producing  concerns. 

4B.  IMESON  has  played  with  most  of 
9  the  big  English  stage  actors,  including 
Tree,  Irving,  Martin  Harvey,  George 
Alexander,  Frank  Benson.  In  America  he 
has  appeared  in  plays  in  which  Olga  Nether- 


sole,  Joseph  M.  Gates  and  others  have  been 
starred.  His  screen  work  includes  leading 
parts  in  “The  Harbour  Lights,”  the  new 
Tom  Terriss  Ideal  production  in  which  Tom 
Moore  is  featured.  Imeson  has  also  played 
for  J.  Stuart  Blackton  in  “  The  Gipsy 
Cavalier  ”  and  “  The  Virgin  Queen.” 

BROMLEY  DAVENPORT  made  his 
•  film  debut  in  the  Broadwest  film 
“  The  Great  Gay  Road,”  but  prior  to  that  had 
had  thirty  years’  stage  experience.  He  has 
appeared  in  four  productions  for  the  George 
Clark  people,  namely,  “The  Bigamist,”  in 
which  he  played  the  part  of  Dick  Carruthers, 
“The  Persistent  Lovers,”  in  which  he 
appeared  as  the  Duke,  “Boy  Woodburn,” 
in  which  he  enacted  the  role  of  the  father 
of  “Boy”  Woodburn,  and  “Fox  Farm.” 
For  Stoll  he  played  a  sporting  comedy  crook 


[  Photo 


[J.  Curlin 


MARJORIE  HUME 

LEADS  IN 

“ Prince  of  Lovers “ Love  and  The  Whirlwind 

“ The  Scientist T 

Represented  by  FRANK  ZEITLIN,  3,  Great  Windmill  Street, 

Piccadillv  Circus,  London,  W. 


in  “Running  Water,”  the  first  of  a  series 
of  new  British  comedies.  Some  of  his  stage 
appearances  were  in  A.  A.  Milne’s  “The 
Romantic  Age,”  “The  Choice”  at  Wynd- 
ham’s  with  Gerald  du  Maurier,  and  in  “Our 
Mr.  Hepplewhite  ”  at  the  Criterion.  He 
considers  screen  acting  a  fascinating  way  of 
earning  money,  though  more  difficult  than 
the  stage,  for  the  emotions  have  to  be 
expressed  by  gestures  and  expressions  only, 
instead  of  being  aided  by  the  voice.  He  is 
now  playing  an  important  part  in  the  new 
George  Clark  production,  “  Maid  of  the 
Silver  Sea.” 

Maurice  Thompson  made  his  first 
appearance  in  pictures  in  1920  by  way 
of  a  “kid  crowd”  in  “My  Lord  Conceit.” 
The  work  immediately  appealed  to  him,  and 
he  haunted  the  agents’  offices,  obtaining  a 
number  of  such  engagements,  his  crowning 
effort  resulting  in  being  chosen  for  a 
“close-up”  (which  meant  such  a  lot  to  a 
kid)  in  “Four  Just  Men.”  Shortly  after, 
hearing  that  A.  E.  Coleby  was  casting  boys 
for  a  new  film  he  managed  to  secure  the 
part  of  Stephen  Greenfield  in  “The  Fifth 
Form  at  St.  Dominic’s.”  Coleby  (a  veritable 
Fairy  Godfather)  gave  him  the  part  of 
“Froggy”  in  “Froggy’s  Little  Brother,”  the 
Trade  show  of  which  brought  him  an  offer 
from  Will  Kellino,  of  the  Gaumont  Co.,  for 
the  part  of  Jim  in  “A  Soul’s  Awakening.” 
Mr.  Coleby  gave  him  parts  in  each  of  his 
productions  since  the  “  Fifth  Form  of  St. 
Dominic’s.  ”  He  will  be  16  years  old  in 
February  next,  and  character  work  makes 
a  tremendous  appeal  to  him. 

4DRIENNF,  MONCRIEFF  has  played 
important  parts  in  at  least  twenty-five 
English  productions  under  the  direction  of 
most  of  the  leading  English  directors.  Some 
of  her  films  include  “Carnival,”  “Buildog 
Drummond,”  “Paddy  the  Next  Best  Thing,” 
“Flames  of  Passion,”  “Pickwick  Papers” 
and  “The  Game  of  Life.” 

HETTA  BARTLETT  spent  a  number  of 
months  in  America  playing  with 
Charles  Hawtrey  in  the  “The  Man  from 
Blankley’s  ”  and  “A  Message  from  Mars.” 
Her  screen  work  includes  many  in  important 
parts  in  a  great  number  of  English  produc¬ 
tions,  including  “A  Woman  of  No  Import¬ 
ance  ”  and  “Sonia”— “The  Woman  Who 
Came  Back  ” — as  it  was  known  in  the  States. 

HENRY  VIBART  is  regarded  as  the  ideal 
father  of  British  film  land,  and  is  as 
oopular  on  the  London  stage  as  he  was  in 
America,  when  in  1896  he  .made  his  first 
appearance  at  a  New  York  theatre  with 
Arthur  Bourchier  and  Irene  Vanbrugh. 
Following  this  engagement  Vibart  remained 
in  America  to  play  leading  parts  for  a  season 
under  the  Richard  Mansfield  management. 
He  also  appeared  in  New  York  with  Lily 
Langtry,  John  Drew,  Ellis  Jeffreys  and 
Sutherland  Marlowe.  Returning  to  England 
Vibart  was  one  of  the  first  recognised 
theatrical  celebrities  to  play  for  films.  So 
far  as  his  memory  carries  him  back,  Vibart 
thinks  his  first  appearance  under  the  studio 
arc  lamps  was  in  “The  Breaking  Point.” 
Since  then  Vibart  has  appeared  regularly  in 
films,  and  has  some  very  fine  performances 
to  his  credit.  At  the  present  time  he  is 
appearing  before  the  camera  and  on  the 
stage.  Amongst  Vibart’s  most  recent  screen 
appearances  have  been  those  in  “A  Woman 
of  No  Importance,”  “Sonia,”  retitled  for 
America  “The  Woman  Who  Came  Back,” 
as  the  doctor  in  “A  Bill  of  Divorcement,” 
“The  Bohemian  Girl,”  and  “Flames  of 
Passion.” 

JUDITH  BISHOP  has  for  many  years  been 
J  connected  with  the  English  screen,  but 
it  was  not  until  quite  recently  that  she  be¬ 
came  a  leading  English  screen  artiste.  Her 
first  big  success  was  in  the  Stoll  film,  “Odds 
On,”  and  as  a  result  of  her  work  in  this 
picture  she  was  re-engaged  to  play  for  the 
same  company  in  “The  Prodigal  Son.” 


Film  Industry 

see  page  15 


14 


October  28,  1922 


fHE  MOTION  PICTURE  STUDIO 


GETTING  TO 
AMERICA 


’Y\7’HY  cannot  Egnland  turn  out  a  series  of 
super-films?  Why? 

In  order  to  answer  this  question  we  must 
get  to  the  root  of  the  trouble  by  turning  to 
the  financial  side  of  the  question.  No 
director  can  turn  out  a  perfect  motion  pic¬ 
ture  while  he  is  encountering  troubles  on 
every  side,  and  while  there  is  insufficient 
money  to  back  him. 

This  brings  us  to  a  very  interesting 
problem:  Why  is  not  the  money  forth¬ 
coming?  1  know  many  people  in  this 
country  who  have  plenty  of  money,  but  they 
will  not  put  a  penny-piece  into  the  film 
Industry — not  because  that  Industry  does 
not  pay,  but  because  it  certainly  will  not 
pay  while  it  is  managed  as  it  is.  I  person¬ 
ally,  have  worked  in  the  States  and  in  this 
country  in  all  parts  of  the  profession,  and 
during  this  time  I  have  made  a  careful 
study  of  the  U.S.A.  methods  and  those  of 
the  English.  I  have  given  the  early  part 
of  my  life  to  this  study,  and  am  now  trying 
to  start  myself.  When  I  get  the  chance  I 
shall  go  out  in  England  armed  with  the 
knowledge  to  combat  these  difficulties. 

There  are  two  types  of  mismanagement  in 
this  country — mismanagement  in  organisa¬ 
tion  and  the  mismanagement  where  directors 
have  thought  of  themselves  only.  I  will  deal 
with  the  latter  case  first,  and  there  are 
many  instances  of  this. 

A  man  has  come  along  with  £fio,ooo  and 
approached  a  director — or  so-called  director 
— and  has  said:  “I  am  told  there  is  money 
in  the  film  Industry.  Here  is  £40,000 
Get  busy  and  make  me  a  picture.”  The 
director,  thinking  to  himself  (and,  incident¬ 
ally,  of  himself)  says:  “This  fellow  knows 
nothing  about  films ;  I’ll  fool  him.  There 
is  ^4,000  for  the  picture,  my  salary  £'2,000, 
my  friend  £4,000,  odds-and-ends  £4,000, 
Now,  let  me  see;  that’s  ,£8,000.  Well,  I 
ought  to  have  a  car.  That  will  cost  .£1,500, 
and  the  other  £(500  will  do  for  petty  cash  !  ” 

The  appalling  result  is  that  the  director 
turns  out  a  junk  picture  at  a  cost  of 
£4,000,  whereas  he  might  have  made  two 
pictures  or  one  super  on  such  an  amount. 
Consequently  our  financier  looses  his  money 
and  taboos  films  for  the  rest  of  his  days, 
and  tells  his  friends  on  no  account  to  touch 
films. 

Now  what  chance  has  a  young  company 
to  make  good  in  these  circumstances? 
Everyone  they  approach  says :  “  No ;  we 

know  all  about  films.  We  aren’t  out  to 
lose  money.” 

And  then,  again,  other  companies  have 
failed  through  amateurish  management, 
where  there  has  been  no  organisation  and 
no  system.  The  people,  in  these  concerns 
have  just  muddled  along  anyhow,  not  know¬ 
ing  what  they  ought  to  be  doing ;  had  no 
arrangements  made,  and  consequently  time 
has  been  wasted,  and  time  means  money. 
Result :  failure. 

Now  there  are  companies  that  are  paying, 
for  the  simple  reason  that  they  are  managed 
in  a  business-like  way  by  business-like 
people,  but  they  fail  to  make  a  big  splash 
because  they  lack  common-sense.  What 
must  a  film  do  to  pay  yery  well?  It  has 
to  travel  through  the  States  with  its  60,000 
kinemas  (no  film  is  going  to  pay  properly 
if  it  is  only  'to  be  shown  in  England’s  4,000 
kinemas).  British  concerns  must  realise  this 
and  cater  for  the  American  market,  and  to 
cater  for  the  American  market  you  must 
have  something  that  is  going  to  interest  the 
American  market. 

How  are  we  going  to  do  this?  The  answer 
is  simple  common-sense.  America  supports 


He  spent  real  money 

see  page  18 


by  ROY  CALVERT 

its  own  artistes,  therefore  we  must  have  the 
name  of  one  good  American  artiste  in  our 
pictures,  so  that  the  American  public  will 
take  an  interest  in  these  pictures. 

America  will  not  pay  to  see  bad  pictures 
in  preference  to  its  own  first-class  products. 
Therefore,  our  pictures  must  be  super  pro¬ 
ductions.  The  technique  must  be  perfect — 
the  production  must  be  perfect,  and  the 
photography  must  be  perfect. 

England,  buck  up!  It  is  time  'to  start 
delivering  the  goods.  We  can  make  pictures 
if  we  go  about  it  in  the  right  way.  A  man 
with  any  personality  at  all  can  point  out  to 
the  investors  the  path  of  the  golden  future. 


•Can  point  out  how  the  failure  of  the  past 
happened — how  these  failures  can  be  recti¬ 
fied,  and  how  we  can  prosper  in  the  future, 
simply  by  catering  not  for  England  only,  but 
lor  the  world’s  market. 

Let  this  be  out  motto  in  the  future : 

‘  Every  picture  we  produce  must  be  better 
than  the  last. 


FARL  AMh  NT  (from  page  18). 
its  doors  to  screen  artistes.  If  it  say  we 
have  so  many  stage  artistes  unemployed,  the 
screen  can  reply,  “  So  have  we.”  If  and 
until  there  is  that  interchange  of  which  you 
write  as  if  it  were  au  fait  accompli.  'Per¬ 
sonally  I  should  never  dream  of  joining  the 
A. A.,  which  is  purely  an  organisation  of 
stage  actors.  The  stage  regards  the  screen 
as  a  successful  rival ;  that  is  a  concrete  fact 
that  in  self-defence  it  exploits  it  is  another 
concrete  fact.  No  theories  or  arguments  or 
visions  of  the  future  can  remove  this 
stumbling  block. — “  Malgre.” 


FLORA  LE  BRETON 

Leads  in:  “La  Poupee  ”  (Wardour)  ;  “Soul’s  Awakening”  (Gaumont))  ;  “The  Gypsy 

Cavalier  ”  (Blackton)  ;  and 

Rosemary  in  “The  G  or  ous  Adventure.” 

34,  NEVERN  SQUARE,  EARL’S  COURT,  LONDON,  W. 


51 


THE  MOTION  PICTURE  STUDIO 


October  28,  1922 


CRAFTSMANSHIP  SUBVERTED  BY 

COMMERCIALISM 


H  ow  a  British  producing  concern  succeeds  with  ideals. 


jp  is  always  with  the  greatest 
pleasure  that  we  record  the  doings  of 
a  company  whose  object  is  to  make  pic¬ 
tures  with  the  maximum  amount  of 
artistry  compatible  with  commercial  enter¬ 
prise.  The  Atlas  Bio-craft  Company, 
whose  beautifully  coloured  engraving 
appears  on  our  cover,  can  indeed  be  in¬ 
cluded  in  this  category.  From  an  inter¬ 
view  1  have  recently  had  with  one  of  the 
principals  of  this  firm  it  was  made  quite 
apparent  to  me  that  the  craftsmanship 
of  picture  making,  too  often  subordinated 
to  pure  commercialism,  was  certainly 
occupying  a  foremost  place  in  the  minds 
of  the  directors  of  this  concern. 

Their  plans  for  the  production  they  are 
at  present  engaged  upon  augur  well  lor 
the  realisation  of  these  intentions. 

“  The  Man  Without  Desire  ”  is  taken 
from  an  original  story  by  the  world- 
famous  dramatist  Monckton  Hoffe.  It 
relates  in  romantic  fashion  the  love  story 
of  a  young  Italian  aristocrat.  The  first  half 
of  the  story  is  laid  on  eighteenth  century 
Venice,  the  latter  haif  in  modern  Venice 
and  England.  The  story  bridges  an  inter¬ 
val  of  200  years  in  the  most  unique  and 
mysterious  fashion,  How  this  is  success¬ 
fully  accomplished  remains  to  be  seen, 
but  the  author,  in  this  case  at  any  rate, 
can  be  relied  upon  to  give  us  something 
really  thrilling. 

Ivor  Novello,  whose  last  picture  “The 
Bohemian  Girl  ”  has  recently  been  re¬ 
leased,  is  probably  the  most  Highly 
salaried  juvenile  in  the  country.  His 
features  are  considered  to  portray  the 
finest  example  of  Adonisian  perfection.  It 
is  rarely  that  you  find  histrionic  and  musi- 


MILES  MANDER 

(General  Manager), 


“I  stood  in  Venice  on  the  Bridge  of  Sighs, 
A  palace  and  a  prison  on  each  hand.” 

—Byron,  Canto,  iv,  i. 


IVOR  NOVELLO 
(Star  in  “The  Man  Without  Desire”) 

cal  ability  so  marked  in  any  one  individual. 
As  is  well  known,  Ivor  Novello  has  been 
responsible  for  the  music  of  a  great  num¬ 
ber  of  the  most  successful  musical 
comedies  of  recent  years,  and  his  more 
recent  advent  to  the  screen  has  added 
considerably  to  his  laurels. 

D.  W.  Griffith,  during  his  last  visit  to 
England,  expressed  the  opinion  that  Ivor 
Novello*  would  soon  become  as  well  known 

throughout  the  world  as  he  is  to-day  in 
England.  Rumour  has  it  that  he  has* 
signed  on  to-  appear  in  a  series  of  pictures 
to*  be  produced  under  the  same  aegis. 

Playing  opposite  to  him  is  a  compara¬ 
tive  new-comer  to  the  screen  in  the  person 
of  Mademoiselle  Yazikova.  Nina  Yazikova, 
as  she  is  known  to  her  friends,  was  born 
in  Russia.  At  the  outbreak  of  war  she 
was  studying  dancing  at  the  Royal 
Academy  at  Petrograd,  with  a  view  to 
becoming  a  premier  danseuse. 

The  revolution,  however,  interfered  with 
her  ambition,  and  she  and  her  mother 
were  evacuated  by  the  British  from  Datum 
on  the  shores  of  the  Black  Sea,  where 
they  were  spending  a  holiday.  Being 
practically  destitute,  they  were  cared  for 
bv  the  British  in  Constantinople  till  the 
day  came  when  Yazikova  married  an 
English  officer  and  returned  to  this 
country. 

She  has  done  a  certain  amount  of  film 
work  in  Russia,  so  it  was  not  unnatural 
that  her  first  thoughts  were  to  continue 


in  this  direction.  In  being  cast  for  a  part 
opposite  Ivor  Novello  she  has  received 
the  opportunity  she  has  so  assiduously 
been  seeking. 

Her  features  are  classical.  She  is  dark, 
with  a  beautiful  white  skin,  and  her  eye¬ 
brows  and  forehead  are  conspicuously  per¬ 
fect.  She  possesses  the  charm  and  viva¬ 
cious  artistry  which  is  characteristic  of 
the  old  Rusian  families,  and  bids  fair 
to  become  a  leading  light  in  the  world  of 
movies. 

Another  artiste  who  is  included  in  the 
cast  is  Dorothy  Warren.  She  is  an 
actress  of  some  note,  who  possesses  a 
literary  and  artistic  knowledge  unrivalled 
by  her  sex.  Her  particular  forte  is  period 
costume,  and  in  this  production  she  will 
have  plenty  of  scope  for  her  abilities. 
Until  i  ecentlv  she  was  appearing  in 
Barrie’s  “  Shall  We  Join  the  Ladies?’’ 
and  left  the  cast  in  order  to  take  up  her 
present  work. 

The  important  heavy  role  is  being 
pla\ed:  bv  the  eminent  Italian  Star  Sergio 
Mari.  This  inter-racial  mixing  of 
artistes  in  a  cast  is  becoming  increasingly 
popular,  and  undoubtedly  adds  inter¬ 
national  value  both  from  an  artistic  and 
business  point  of  view. 

Finally,  the  production  of  the  film  is 
under  the  direction  of  Adrian  Brunei,  who 
needs  no  introduction  to  the  British  film 
world.  He  is,  of  course,  best  known  for 
the  production  of  a  series  of  comedies 
which  A.  A.  Milne  wrote  specially  fol¬ 
ium.  He  is  regarded  as  one  of  the  most 
intellectual  directors  in  this  country,  and 
his  knowledge  of  the  literary  and  dramatic 
world  is  most  noticeable  in  his  work. 

Miles  Mander,  his  partner,  is  also  well 
known.  His  knowledge  of  the  conditions 
of  the  film  trade  in  the  various  countries 
of  Europe  is  probably  unique.  He  has 
tackled  most  branches  of  the  business 
and,  as  General  Manager  of  the  Atlas 
Biocraft  Company,  will  have  plenty  of 
opportunity  to  exercise  his  marked 
abilities. 

We  await  with  confidence  the  film  pro¬ 
ducts  of  16,  Albemarle  Street. — E.  G.  A. 


ADRIAN  bRUNEL 
(Director  of  Productions.) 


16 


October  ?8,  1922 


THE  MOTION  PICTURE  STUDIO 


FINANCIAL  BASIS  OF 
BRITISH  FILMS 


all  the  good  will  in  the  world,  but 
"  *  with  complete  plainness  of  speaking, 
I  should  like  to  touch  briefly  upon  the  diffi¬ 
culties  of  financing  what  I  may  call  the 
producing  end  of  the  British  film  Indus¬ 
try,  says  Sir  Walter  de  Frece  in  the  Bio¬ 
scope. 

I  think  I  may  lay  down  as  a  general 
proposition  that  the  record  of  the  film  pro¬ 
ducing  companies  in  this  country  up  to  the 
present  date  is  not  such  as  is  likely  to 
command  the  confidence  of  the  public;  or, 
in  other  words,  that  of  the  ordinary  in¬ 
vestor,  on  whom  producing  companies  must 
rely. 

I  am  quite  ready,  if  need  be,  to  give 
my  reasons  for  holding  this  point  of  view. 
Most  of  us  are  aware,  although  the  public 
is  not,  that  there  is  very  little  chance  ot 
a  British  super  picture,  costing,  say,  from 
£25,000  to  £30,000,  making  a  profit  if  it  is 
only  exhibited  in  the  United  Kingdom.  In 
the  first  place,  there  are  far  too  few  picture 
theatres,  either  to  take  such  a  film  or  to 
make  it  pay.  This  may  seem  surprising, 
when  we  contemplate  the  number  of  exist¬ 
ing  theatres  and  those  springing  up,  but 
it  is  none  the  less  true.  Accordingly, 
British  producers  are  compelled  to  concen¬ 
trate,  as  they  are  now  concentrating,  on 
pictures  with  a  world-wide  appeal.  They 
have  to  look,  in  the  first  place,  to  getting 
them  into  America  and  other  large  markets. 

Producers  in  the  United  States  are  not 
under  the  same  disadvantage.  They  have 
so  many  picture  theatres  to  which  they 
can  look  for  all  the  large  profits  which  they 
expect,  that  they  are  able  to  send  their 
pictures  abroad  at  a  rate  which  would  not 
be  worth  their  while  if  they  had  to  rely 
upon  the  British  market  primarily  for  their 
returns,  though  it  at  all  events  yields  a 
certain  additional  return  to  the  one  which 
they  can  confidently  count  on  at  home. 
This  explains,  of  course,  why  Great  Britain 
has  been  and  is  being  flooded  with  Ameri¬ 
can  pictures.  British  pictures  are  wanted 
everywhere,  but  it  is  fatal  for  them  to  be 
purely  local  in  their  treament,  and  of  a 
nature  appealing  solely  to  the  home  pub¬ 
lic.  This  point  must  especially  be  kept  in 
mind  when  the  undoubted  demand  for 
British  pictures  is  being  felt,  because  on  the 
reputation  which  actual  large  scale  pro¬ 
ductions  now  acquire,  will  be  based  for 
years  to  come  the  accepted  world  standard 
and  estimate  of  our  ability  in  this  line  of 
artistic  work. 

On  our  films,  therefore,  very  large  sums 
of  money  have  to  be  spent,  and  we  are  at 
once  faced  with  the  difficulty  of  finance. 
It  is  not  merely  that  the  ordinary  investor 
hesitates  in  his  support  of  film  enterprises, 
but  he  is  confronted  with  so  many  other 
ound  and  proved  commercial  enterprises, 

Donald  Searle 


The  Press  is 
unanimous  in  de¬ 
claring  that  there 
is  a  lamentable 
de  a  rth  of  Best 
Screen  Comedy, 

THEY  WROTE  THIS 
BEFORE  THEY  SAW  ME 

32,  Lauderdale  Mans., 
London,  W.  C. 


by  Col.  SIR  WALTER  DE  FRECE 
M.P. 


paying  high  rates  of  interest  on  capital, 
while  even  the  best  gilt-edged  British 
securities  give  such  excellent  returns 
coupled  with  absolute  safety,  that  he,  per¬ 
haps  not  unreasonably,  halts  before  interest¬ 
ing  himself  in  a  new  industry,  possiblv  of 
a  speculative  nature,  but  which,  if  success¬ 
ful,  as  it  easily  could  be,  is  capable  of 
realising  very  la-rge  dividends  indeed. 

What  is  then  the  position  of  the  producing 
companies?  Failing  public  money,  they 
have  to  turn  to  the  bankers,  but  these  are 
notoriously  shy  of  making  advances,  and  up 
to  the  present  they  have  been  unwilling 
to  respond,  owing,  to  a  very  large  extent, 
to  their  doubt  as  to  the  collateral  security 
or  to  the  credit  and  integrity  of  the  picture 
business  as  a  whole.  Of  course,  this  would 
not  be  the  case  with  a  body  of  men  well 
versed  in  the  intricacies  of  the  motion 
picture  business,  but  one  cannot  blame  the 
banks  for  their  failure  to  be  what  I  may 
perhaps  call  pioneers  in  tb  work.  The 
banks  are,  I  believe,  only  ijo  anxious:  to 
get  the  business  if  properly  secured,  the 
more  so  as  in  my  opinion  the  motion  picture 
producing  business  has  outgrown  private 
finance,  just  as  have  done  railway  develop¬ 
ment  and  the  vast  commercial  undertakings 
of  this  country. 

I  therefore  suggest  the  formation  of  a 
“Kinema  Finance  Corporation,”  consisting 
of  financiers  and  experts  in  the  motion 
picture  Industry;  the  principal-  object  of 
the  Corporation  would  be  to  finance  film 
productions,  considering  all  applications 
for  advances  on  their  merits,  the  suggested 
story,  its  possible  appeal  to  the  public  as 
a  money-maker;  the  standing  and  reputa¬ 
tion  of  the  producer;  the  estimated  cost, 
etc.,  etc. ;  and  once  satisfied,  to  advance 
the  necessary  funds  for  the  production, 
taking  in  return  a  fair  proportion  of  the 


profits,  plus  reasonable  interest  on  the  sum 
advanced. 

At  the  same  time,  I  hold  that  the  capital 
of  the  suggested  Corporation  need  no|  be 
large,  for  with  responsible  men  interested, 
there  ought  to  be  no  difficulty  in  obtaining 
advances  from  the  banks  on  the  guarantee 
of  the  Corporation. 

It  is,  therefore,  necessary  to  bring  the 
best  business  brains  into  the  Industry,  and 
since  I  first  made  this  suggestion,  1  have 
been  informed  that  there  is  already  in  exist¬ 
ence  a  similar  organisation,  which  has  been 
making  handsome  profits  in  America.  That 
America  believes  in  bringing  the  best  brains 
of  the  country  into  the  Industry  is  evi¬ 
denced  by  their  recent  appointment  at  a 
very  high  salary  of  Will  Hays,  who  was 
lately  a  prominent  Government  official. 

If  my  information  be  correct,  I  suggest 
we  cannot  do  better  than  follow  the  lead 
of  America.  There  is  a  golden  future  for 
British  pictures.  The  spade  work  has  been 
done  at  great  cost,  and  with  proper  financial 
backing,  the  reward  is  in  sight. 

On  the  other  hand,  without  such  backing, 
the  British  producing  companies  must  con¬ 
tinue  plodding  along  and  occupying  what 
I  may  call  only  a  back  seat  among  picture 
producing  countries.  Nothing  nowadays 
is  of  real  worth  except  the  best.  In  the 
old  days,  it  was  quite  possible,  as  we  know 
only  too  well  from  our  experience  of  foreign 
films,  to  produce  an  article  which  made 
money  because  there  was  nothing  to  com¬ 
pete  with  it.  Now  the  standard  is  com¬ 
pletely  altered.  Every  country  is  in  the 
picture  producing  business.  I  have  seeir 
a  great  many  films  produced  in  non-Anglo 
Saxon  countries,  and  I  feel  that  to  hold  on 
own,  we  shall  have  to  make  very  strenuous 
efforts  on  an  organised  and  systematic  scan 
With  such  efforts,  success  is  possible,  am 
we  have  really  only  touched  the  fringe  or 
the  development  of  this  Industry  all  over 
the  world. 

There  are  people  who  think  that  the  film 
T/idustry  has  perhaps  reached  its  zenith. 
It  is  quite  the  contrary,  but  only  the  best 
pictures  will  hold  their  own,  and  I.  there¬ 
fore  suggest  that  if  we  are  to  lead  in  pro¬ 
duction,  as  we  could  lead,  we  must  seriorrslv 
take  in  hand  the  whole  organisation  of 
finance,  and  ensure  that  in  the  general 
world-output  our  contribution  is  such  that 
we  can  challenge  any  competition  from  anv 
country.  I,  personally,  have  no  doubt  of 
success,  but  there  will  only  be.  success  on 
the  right  lines,  and  I  believe,  if  it  is  pos¬ 
sible  to  form  such  an  organisation  as  1  have 
suggested  in  this  country,  the  greatest  of 
our  present-day  difficulties  will  have  been 
overcome. 


HUBERT 

WILLIS 

who  played 

DR.  WATSON 

in  the 

SHERLOCK  HOLMES  SERIES 

now  Showing  in  American  Cinemaf 

Address  ■ — 

29,  St.  Peter  Square,  London,  W.  6V 


17 


THE  MOTION  PICTURE  STUDIO 


October  2  ,  1922 


Readers  in  Council  on  Film  Matters  of  Interest 


Who  Wants 
Money  ? 

Mr.  Speaker, — I  have  read  with  great  in¬ 
terest  the  letter  in  last  week’s  Parliament  on 
the  subject  of  the  small  investor.  There  must 
be  many  like  myself  with  a  great  love  for 
the  pictures,  who  would  like  a  chance  to 
invest  part  of  their  small  savings  in  some 
film  company.  Please  tell  us  in  your  columns 
the  names  of  firms  that  would  take  our 
money — but  British  companies,  please.  We 
want  to  help  our  own  people. — “  Another 
Small  Investor.” 

Shifting 

Camera-Views. 

Mr.  SrEAKEK, — In  the  last  issue  of  The 
Motion  Picture  Studio,  Christabel 
Lowndes-Yates,  under  the  heading  “Plush- 
Chair  Points  of  View,”  very  rightly  held 
that  the  public  must  be  the  final  judge  of 
what  is  good  or  bad,  and  its  criticism, 
which,  though  voiced  from  “  The  Plush 
Chair  ”  and  not  in  the  Press,  must  receive 
consideration.  Let  us  hope  that  the  points 
so  impartially  reviewed  by  Miss  Lowndes- 
Yates  will  receive  the  consideration  due  to 
them. 

But  there  is  one  statement  in  her  article 
over  which  I  should  like  to  join  issue  with 
her,  and  that  is— I  will  quote  Miss  Lowndes- 
Yates’s  own  words  : — 

“Many  mothers  are  saying  that  the 

constant  shifting  of  the  camera  view  is  bad 

for  the  children’s  sight,  and  that  is  a 

criticism  most  people  will  find  to  be  true.” 

Miss  ‘Lowndes-Yated  qualifies  this  state¬ 
ment  by  stating  that  this  is  beginning  to 
attract  the  attention  of  all  directors. 

The  point  which  I  wish  to  raise  with  Miss 
Lowndes-Yates  is  not  so  much  that  her 
statement  is  at  fault,  as  that  she  has 
touched  all  too  lightly  on  a  far-reaching 
point  of  technique  in  production. 

The  shifting  of  “camera  view  ”  has  a 
very  decided  effect  on  continuity,  although 
on  the  surface  it  may  not  appear  to  do  so. 

The  real  fact  lies  not  so  much  in  the  con¬ 
stant  shifting  of  the  camera  view  as  in  the 
wrongly-timed  shifting  of  the  camera  view. 
It  is  just  as  injurious  to  the  eyesight  (under 
certain  conditions)  to  play  several  scenes 
all  in  one  length  or  angle  shot. 

The  human  eye  in  normal  every-day  life  is 
constantly  changing  its  focus  and  angle  view, 
without  any  undue  strain,  and  this  is  simply 
because  the  eye  is  doing  its  normal  and 
natural  work.  The  focussing  of  the  eye  (as 
far  as  we  are  concerned)  can  be  described 
under  two  headings 

(1)  Subconscious  focussing. 

(2)  Conscious  focussing. 

The  first  of  these  is  at  natural  focus,  the 
equivalent  of  which  in  the  camera  is  infini¬ 
tive.  In  this  focus  the  distinction  and  size 
of  the  objects  are  in  proportion  to  their 
position,  and  in  direct  relation  to  the  length 
and  clanty  of  vision  of  the  eye. 

But  the  conscious  focussing  is  altogether 
another  thing.  It  is  the  eye  accommodating 
itself  to  the  act  of  the  brain  deliberately  con¬ 
centrating  on  some  object  through  the  eye. 

The  whole  question  as  to  when  to  change 


the  length  and  angle  of  a  shot  really  dis¬ 
solves  itself  into  this.  When  the  interest  of 
the  watched  has  been  stimulated  sufficiently 
for  the  brain  deliberately  to  concentrate  and 
so  cause  the  eye  to  accommodate,  then  and 
then  only  is  the  time  to  make  the  change 
into  a  near  view.  Inversely,  when  the  brain 
has  ceased  to  concentrate,  then  and  then 
only  is  the  time  to  lengthen  the  shot  and 
change  the  angle  to  such  an  extent  as  to 
produce  what  one  might  term  a  condition 
of  the  sub-conscious  focus. 

If  you  have  stimulated  the  brain  for 
change  of  shot  the  change  will  be  natural. 
If  you  haven’t,  it  won’t.  Strain  is  caused 
by  the  unnatural  exertion  placed  on  the 
faculties  of  the  brain  and  eye.  On  the  other 
hand,  if  you  stimulate  the  brain  and  fail 
to  make  the  necessary  change,  the  result  will 
also  be  unnatural  and  therefore  injurious. 
It  is  because  directors  are  beginning  to  give 
their  attention  to  this  point  that  one  must 
realise  before  making  a  change  exactly  what 
the  situation  is. 

We  must  listen  to  the  reason  given  by  the 
“  plush-chair  ”  critics,  but  we  must  trans¬ 
late  theiq  criticisms  of  bad  results  into 
technical  reasons  for  failure.  That  there 
ij  a  tendency  growing  at  the  moment  on  the 
part  of  the  British  directors  to  keep  in  one 
length  and  angle  of  shot  as  long  as  possible 
there  is  no  doubt. 

On  the  other  hand,  the  American  technique 
in  some  of  the  films  we  see  is  undoubtedly 
at  times  not  up  to  the  standard  set  by  them¬ 
selves.  On  closer  examination  one  finds  that 
the  “carrying  through  ”  of  action  from  a 
close-up  to  a  long  shot,  and  vice  versa,  is 
not  now  receiving  the  attention  due  to  it, 
and  it  is  this  “carrying  through  ”  of  action 
that  stimulates  the  brain  in  the  way  before 
mentioned  preparing  for  the  change  of  angle 
and  shot,  and  doing  away  with  all  undue 
eyestrain.  In  short,  the  length  and  angle 
of  shot  and  variation  of  same  are  governed 
by  factors  purely  psychological. — Gerard 
Fort  Buckle. 

Age  versus 
Youth. 

Mr.  Speaker, — It  is  interesting  to  Have 
an  article  from  a  director,  as  one  always 
wondered  what  was  their  actual  view-point. 
If  all  those  producing  films  in  England  en¬ 
dorse  and  share  Frank  Crane’s,  it  would 
account  for  much  in  the  past  and  present, 
and  as  regards  the  future  I  can  only  say, 
“  Heaven  help  British  films,  for  with  such 
views  they  will  never  dominate  the  world.” 

Apparently  Mr.  Crane  is  obsessed  by  the 
youthful  methods  of  Mary  Pickford  and  tl m 
antics  of  Douglas  Fairbanks.  As  a  matter 
of  sober  fact,  both  these  artistes  are  past 
their  youth  now. 

What  a  nightmare  !  Nothing  on  the 
screen  but  flappers — i.e.,  beardless  youths, 
and  flappers. 

“  Here  and  there,”  we  are  solemnly  told, 
“  mature  age  creeps  if  you  please — “  into 


for  YOU 

see  page  20 


the  studio,  but  is  only  suffered  to  exist  as- 
a  frame  for  youth.”  What  utter  piffle  ! 

If  the  screen  is  to  fulfil  its  purpose  it 
must,  like  the  stage,  “  hold  the  mirror  up 
to  Nature.”  Nature,  that  is  Life,  as  we 
know  it,  is  not  limited  to  youth,  fortunately. 
A  director  who  is  worthy  of  his  work  does 
not  limit  his  view  to  the  phase  or  section  of 
life  that  most  appeals  to  him ;  he  must  see 
life,  and  see  it  whole. 

Take,  for  example,  the  most  perfectly 
artistic  film  being  shown  in  London  now, 
“  Foolish  Wives.”  It  is  a  slice  of  real  life. 
In  it  youth,  as  Mr.  Crane  preaches,  is  singu¬ 
larly  lacking.  The  leading  characters  are 
not  young  in  either  body,  mind  or  intellect. 
What  could  be  more  moving  than  the  moment 
of  great  tragedy  when  the  cloak  of  the  grim¬ 
faced  soldier  is  torn  off  to  reveal  the  fact 
that  he  is  armless. 

Take  another  great  film  by  perhaps  the 
most  artistic  director  working  here,  “  A 
Bill  of  Divorcement.”  The  chief  interest  lies 
in  that  great  artiste,  Fay  Compton,  who  is 
too  great  an  artiste  to  claim  or  pretend 
either  to  be  youthful  or  not. 

Take  Shakespeare’s  play's.  Plow  rarely 
does  youth  dominate  them.  Take  great 
'paintings  of  world-wide  repute.  Mona  Lisa’s 
enigmatic  smile,  the  Laughing  Cavalier, 
Whistler’s  Mother,  The  Ambassadors,  Venus 
and  Mirror — none  youthful. 

No;  really  for  a  gentleman  to  come  over 
from  America  to  teach  us  how  to  direct 
films,  and  then  write  a  high-brow  article 
such  as  the  one  you  print,  is  sublimely 
ridiculous. 

Is  it  sought  to  turn  the  film  into  a  kinder¬ 
garten  ? 

Youth  is  of  no  more  vital  importance  in 
the  studio  world  than  middle-life  or  old 
age.  Each  has  its  fit  and  proper  place,  and 
the  director  best  succeeds  who  realises  this ; 
in  a  word,  shows  him’self  possessed  of  sense 
of  artistic  fitness  of  people  and  things.  If 
he  takes  a  limited  and  sectional  view  he  is 
no  true  artist.  His  vision  is  defective. 

I  am  but  a  screen  actor,  but,  I  hope, 
sufficient  of  an  artist  to  know  how  utterly 
misleading  Mr.  Crane’s  views  are.  No 
wonder  with  such  views  a  young  American 
artiste  is  paid  here  ,£1,000  a  week. — Ess 
Jee. 

Screen  or 
Srage  Artistes  ? 

Mr.  Speaker, — Is  it  not  an  “  actual  con¬ 
crete  fact  ”  that  the  stage  door  is  closed  to 
screen  artistes  simply  because  they  are 
screen  artistes?  You  can  prove  it  any  day 
in  the  week.  No  stage  manager  nor  stage 
artistes’  agent  will  give  a  screen  actor  work 
on  the  strength  of  experience  in  screen  act¬ 
ing.  I  had  hoped  that  my  exhaustive  treat¬ 
ment  of  the  A. A.  attempt  to  rope  in  screen 
artistes  had  silenced  it. 

You  give  two  apparently  recent  cases  of 
A.A.  fighting  for  screen  artistes.  Are  not 
both  Arthur  Walcott  and  Flora  le  Breton 
members  of  A.A.  ?  Naturally  members  claim 
support  in  case  of  need,  but  both  are,  T  be¬ 
lieve,  stage  actors,  so  that  your  examples 
prove  nothing.  Personally,  I  have  the 
greatest  admiration  for  the  screen  work  of 
both  these  artistes. 

The  attitude  of  A.A.  reminds  me  of  the 
wolf  in  Little  Red  Riding  Hood,  dressed  in 
grandmother’s  clothes,  beguiling  the  defence¬ 
less  child  into  confidence  that  it  may  gobble 
her  up. 

Our  directors  are  to  blame,  or  rather  the 
enterprising  agents  who  induce  film-produc¬ 
ing  concerns  to  import  actors  from  America 
and  pay  them  as  many  pounds  as  they  had 
dollars  in  U.S.A.  or  more,  and  then  compel 
the  director  to  use  them. 

To  resume,  it  is  up  to  the  stage  to  open 

(Continued  on  page  15.) 


8 


October  28  1922 


THE  MOTION  PICTURE  STUDIO 


CLIVE 

BROOK 

DAVID  O’RANE 

IN 

“SONIA” 

Now  being  shown  in  America  as  “The  Woman 
who  Came  Back.” 


Represented  by  FRANK  ZEITLIN, 
3,  Gt.  Windmill  Street,  Piccadilly  Circus, 
LONDON,  W. 


DORINEA 

SHIRLEY 

LEADS  IN 

“The  Wilderness/’ 

{HAGEN BECK) 

“The  White  Desert,” 

( HAGEMBECK ) 

NOW  PLAYING  LEAD  IN 

“  Petticoat  Loose,’’ 

(STOLL) 

Represented  by  FRANK  ZEITLIN, 
3,  Gt.  Windmill  Street,  Piccadilly  Circus, 

LONDON.  W, 


19 


THE  MOTION  PICTURE  STUDIO 


October  28,  1922 


O  one  in  this  country  pretends  that  we 
have  become  a  serious  competitor  in 
the  matter  of  screen  comedies ;  but — as 
the  saying  goes — we  are  doing  our  best. 
We  have  certain  very  good  non-slapstick 
comedies  to  our  credit,  such  as  “Alf’s 
Button,”  “A  Rogue  with  Love,”  “A 
Sister  to  Assist  ’Er,”  “Three  Men  in  a 
Boat,”  and  “Four  Men  in  a  Van.”  Also 


we  have  George  Cooper,  of  'juality.  Films, 
turning  out  excellent  two-reei  comedies, 
and  Walter  Forde  concentrating  his  out¬ 
put  on  this  particular  form  of  screen  enter¬ 
tainment.  In  Walter  Forde  and  Donald 
Searl  we  possess  two  screen  comedians 
of  recognised  worth.  Donald  Searle  is 
seen  above  in  one  of  the  Quality  Film 
comedies. 


FILM  STORIES 
UNFILMED 

r|MTE  career  of  Tom  Terriss,  who  is  at  this. 
•*-  moment  engaged  in  the  production  of. 
Ideals  great  new  picture,  “The  Harbour 
Lights,”  reads  like  a  film  story,  but  is  in¬ 
reality  more  thrilling  than  the-  most1  thrilling 
picture  ever  made. 

It  began  when  his  father,  the  famous, 
actor,  William  Terriss,  having  resolved  that 
his  son  should  not  follow  the  profession  of 
the  stage,  shipped  him  out  of  temptation,  to 
Australia.  There  the  lad  spent  two  years 
clipping  sheep  and.  eating  mutton. 

T  iring  of  sheep  shearing,  Tom  suddenly 
broke  away  and  shipped  before  the  mast — 
for  home.  But  no  sooner  was  he  in  England 
than  he  longed  once  more  for  the  “briny,’ 
which  he  had  learned  to  love,  and  presently 
he  was  third  mate  on  a  Shaw  and  Saville 
boat,  sailing  round  the  Cape  to  Australia  and 
back. 

Adventures  galore  befell  him  : — 

He  was  washed  overboard  in  a  storm. 

He  was  in  a  fire  at  sea. 

He  was  in  a  mutiny,  and 

He  fell  from  the  mizzen-top  of  his  boat. 

That  chapter  of  accidents  turned  his 
thoughts  to  land  again,  and  he  obtained  a 
position  in  London  at  a  meagre  salary. 

But,  his  father’s  back  being  turned — 
William  Terriss  was  then  touring  with 
Henry  Irving  in  America — Tom  stole  on  to 
the  stage,  with  a  “super”  part  in  “Julius- 
Caesar.”  However,  his  father  returned  in 
time  to  catch  him  red-handed — and  the 
young  soldier  of  fortune  thereupon  shipped 
to  America. 

He  got  employment  in  the  silver  mines  at 
Colorado,  and  there,  after  sleeping  one  night 
in  a  hole  in  the  snow,  he  awoke  in  the 
morning  stone  blind.  He  had  never  realised 
what  snow  blindness  meant,  and,  crazy  with 
terror,  he  burled  himselt  over  a  precipice. 
But  he  fell  into  a  snowbank,  and  was  picked 
up  shortly  afterwards.  For  several  months, 
he  lay  in  hospital  at  Denver — most  of  the 
time  in  a  dark  room — and  even  to  this  day 
hi^  eyesight  has  never  fully  recovered. 

Shipping  for  home  once  more,  he  arrived 
at  his  father’s  house  with  sailor  kit  and  a 
strong,  healthy  beard.  In  a  few  weeks 
England  rang  with  the  terrible  story  of  the 
assassination  of  William  Terriss  at  the 
entrance  to  the  Adelphi  Theatre.  That  sad 
event  brought  Tom  a  considerable  legacy,, 
and  with  it  he  set  off  to  tour  the  world. 

From  Africa  he  went  into  Asia  and  the 
South  Sea  Island.  To  this  tour  he  attri¬ 
butes  much  of  his  success  as  a  director, 
especially  in  the  matter  of  colour  and  com¬ 
position. 

When  Tom  returned  to  England  he  was 
“broke  ”  once  more.  But  an  inspiration 
came  to  him.  His  family  had  been  intimate 
with  the  family  of  Charles  Dickens,  and  he 
himself  had  been  born  within  the  shadow 
of  Bleak  House.  That  put  the  idea  into  his 
head  to  start  a  Dickens  Repertoire  Company 
and  impersonate  characters  from  Dickens’ 
stories.  With  this  venture  he  was  extremely 
successful — not  only  in  Great  Britain,  but 
in  the  United  States  and  Canada. 

It  was  when  he  was  asked  to  present  his 
Dickens’  repertoire  on  the  screen  that  Tom 
Terriss  joined  the  “movies,”  both  as 
director  and  actor.  Very  soon  began  his 
association  with  the  Vitagraph  Company, 
while  “Tom  Terriss  Productions'”  became 
famous  the  world  over,  after  which  he  made 
Cosmopolitan  features  for  h.  P.  Lasky. 


Progression  pays 

see  page  25 


GIVING  THE  SHOW 

AWAY 

by  MURIEL  ALLEYNE 

'JHME  after  time  1  have  taken  up  the  papers  and  seen  articles  on  the  current  film  pro¬ 
ductions,  but  on  many  occasions  I  have  been  really  unhappy  when  I  have  read  accounts 
of  how  certain  things  are  done,  or  some  effects  obtained,  which  have  absolutely  given  the  show 
away,  and  shorn  the  picture  of  most  oi  its  charm — in  fact,  in  some  cases,  all  of  it— because  you 
know  how  it  is  done. 

As  children,  and  even  as  grown-up  children,  we  like  to  see  a  conjurer  and  be  mystified  by  all 
his  skilful  tricks.  I  shall  never  forget  my  first  delight  at  seeing  a  white  rabbit  come  out 
of  an  apparently  empty  silk  hat,  and  a  canary  and  cage  appear  from  nowhere.  But  if  I  had 
been  told  before  I  went  to  see  the  performance  how  it  was  done,  the  glamour  would  have 
gone,  the  fascination  of  the  whole  performance  evaporated. 

Now  we  have  at  times  very  clever  effects  on  the  screen,  including  scenes  shot  in  “  far-off 
lands’’  which  have  carried  people  away,  in  imagination  at  least,  and  that  fact  alone  has 
added  to  their  enjoyment,  and  that  is  as  it  should  be.  But  why  expose  the  tricks  of  the 
Trade  and  spoil  the  whole  show  ? 

I  once  read  in  a  paper  that  the  desert  scene  where  the  camels  come  over  the  sky-line  and 
across  the  desert  sands  had  been  filmed  on  the  dunes  just  outside  Blackpool.  Now  I  had 
seen  that  picture  and  enjoyed  it.  I  had  been  myself  in  Africa  and  though  the  sand  is  a 
different  colour  (when  you  see  the  real  thing),  the  effect  in  the  picture  was  just  as  good  as 
if  the  pioducing  firm  had  paid  large  sums  to  send  his  aitists  out  there  to  have  a  few  hundred 
feet  of  film  exposed.  The  desert  sand  was  all  that  was  required,  although  of  course, on  the 
other  hand,  faked  tropical  scenery  with  impossble  palms  is  not  very  convincing,  and  is  pain¬ 
ful  to  one  who  has  travelled,  or  to  those  in  tropical  countries  with  the  lovely  scenery  round 
them — just  as  painful  as  it  is  for  the  British  to  see  their  history  filmed  and  spoilt  by  the 
ignorant,  or  English  fox-hunting  depicted  with  the  huntsmen  carrying  guns  ! 

Then,  again,  in  “Earthbound”  one  paper  told  the  public  that  the  dog, on  seeing  the  spirit 
of  his  master,  recognised  him  by  wagging  his  tail  and  looking  pleased,  was  not  really  looking 
at  his  spirit-master  at  all,  but  at  a  goat  just  out  of  view  of  the  camera.  At  the  performance 
I  heard  some  people  near  me  discussing  this  scene.  They  said,  “  What  a  dear  deg.  He  has  not 
forgotten  his  dead  master.  After  all  dogs  are  more  faithful  than  some  wives.”  Well,  they 
were  deceived.  And  it  made  them  go  home  thinking  that  their  dog  would  be  just  as  pleased 
to  see  their  spirit-form  while  their  wfives  might  have  a  fit.  But  the  paper  would  spoil  the 
whole  show  for  them  by  Lelling  them  that  the  dog  was  only  looking  at  a  goat. 

Then,  again,  why  should  the  public  be  told  that  in  the  hard-riding  scenes  of  “  Dick  Turpin  ” 
an  experienced  horseman  was  engaged  to  double  Mr.  Lang,  and  the  part  he  played  was  only 
those  scenes  where  experienced  riding  was  not  required.  I  have  not  seen  the  film  yet,  but  it 
spoilt  it  for  me  all  the  same. 

If  the  secrets  of  Maskelyme  and  Devant’s  shows  had  been  constantly  exposed  in  the  papers 
they  would  not  have  run  all  these  years  at  the  Egyptian  Hall  and  their  present  quarters. 
Therefore  I  think  that, for  the  sake  of  the  film  Industry,  the  secrets  of  some  of  the  effects 
obtained  in  production  should  be  kept  to  the  Trade  only  and  not  expo  sed  wreek  after  week  in 
the  Press  and  so  rob  the  films  of  their  mystery'  and  glamour. 


20 


October  28,  1922 


THE  MOTION  PICTURE  STUDIO 


WARWICK  WARD 


3J.  Grove  End  Rd. 
LONDON,  n.w.8 


Telephone  . 
Padain&ton  2409 


As  Dr.  Lakington  in  “  Bulldog  Drummond.” 


WARWICK  WARD. 


HENRY 

VICTOR 

LEADS: 

“Beyond  the  Dreams  of  Avarice.” 
‘‘Diana  of  the  Crossways.’’ 
‘‘Romance  of  Old  Bagdad.’’ 
‘‘Sheer  Bluff.’’ 
“Old  Wives  T  a  1  e.” 

“A  Bill  of  Divorcement.” 
NOW  PLAYING  THE  ROLE  IN 


“THE  PRODIGAL  SON 


(STOLL  PRODUCTION.) 


October  28  1922 


THE  MOTION  PICTURE  STUDIO 


GRANVILLE  PRODUCTIONS 

Bring  to  the  notice  of  the  British  and 
American  Trade 


October  28,  1922 


THE  MOTION  PICTURE  STUDIO 


GRANVILLE 

PRODUCTIONS 

“  Shifting 
Sands” 

Featuring 

PEGGY 

HYLAND 

Supported  by  the  following  all-star  cast  : — 

Lewis  Willoughby — Gibson  Gowland — Richard  Atwood 
Douglas  Webster  —  Tony  Melford  —  Mdlle.  Valia 

iiiiiiiiiiiiiiiiiiiiiiiifiiiiiiiiiiimiimimiriiiMiiimii 

Photographed  by  — -  Distributed  by  : — 

WALTER  BLAKELY  FILM  BOOKING  OFFICES'  LTD., 

&  SILVANO  BALBONI  22,  Soho  Square,  London,  W.  1 . 

All  Communications  : — 

F.  L.  Granville,  61,  Berners  St.,  London,  W.l. 


23 


THE  MOTION  PICTURE  STUDIO 


October  28,  1922 


TRADE  ORGANISATIONS 

s  yet  the  personnel  of  the  induettyU  i 

A  but  during  the  past  year cater  for  the  various  sections  are  the  In- 
A  the  moment  of  writing,  the  (for  the  film  producing  concerns), 

corporated  Association  of  Kmematog  p  y  Actors’  Association  (for  artistes), 

s:  ci"b  <f-  and 

business  purposes). 

Illd0i^\vaieexists’toapromote’thenconsir»3era^oli1andCdisceus5ionoi  mTttljls  aff ectilig ^and 

the  As“ciation  of  ,he 

various  branches  of  the  trade  for  the  promotion  of  mutual  interest  . 

The  Actors’  Association  is  the  only  body  catering  for  film  artistes.  Its  offices  are  situated 
at  32,  Regent  Street,  London,  W.  i. 

periodically  to  discuss  matters  of  a  general  interest  to  directors. 

.  ,  1+,,1+ori  at  n  Great  Newport  Street,  London,  W.C.  2,  was  formed 

The  Kmema  Club,  s  business-improvement  centre  for  those  connected  with  the 

last  year  and  is  a  social  members  of  the  Club  include  most  of  the  leading  artistes, 

recSlndTa— d th' 

The  cameramen  are  served by  theKtaj  -T)  Ceg^SfilSioT 

Wardour  Street,  L°ndom  directors,  producers,  agents  and  others,  and  also  between 

between  cameramen  and  P  J  >  it  f’  action,  by  organisation  and  otherwise,  in  order 
member  and  member  ;  (f)  "  SmeTamen  ;  (3)  To  abolish  all  abuses  detrimental  to 

to  improve  the  ^  te  from  the  contributions  of  the  members  a  fund  adequate 

their  welfare  (4)  r°  interests  and  the  provision  of  the  benefits  specified  in  the  rules; 

xjfprosdde^benefim’on  the^eath  “a  me,nPber;  (61  To  prov.de  .egal  assistance  to  secure 
the  due  fulfilment  of  contracts  or  engagements. 

Elsewhere  in  this  issue  the  facts  relating  to  the  British  National  Film  League  are  set  forth. 


NEW  STOLL 
POLICY 

JEFFREY  BERNERD,  the  Stoll  Pro¬ 
ductions  chief,  has  definitely  finished 
with  the  making  of  program  pictures,  and 
incidentally  with  block  booking.  His 
organisation  is  concentrating  on  the  making 
of  supers.  . 

The  first  big  picture  to  come  under  this 
program  of  work  is  Hall  Caine’s  “  The 
Prodigal  Son,”  which  was  started  in  August, 
and  will  not  be  finished  until  the  end  of 
next  month.  This  case  is  an  illustration  of 
the  policy;  no  expense  has  been  spared,  and 
the  producer,  A.  E.  Coleby,  has  taken  his 
company  to  Iceland,  to  M&nte  Carlo,  and 
to  Paris  to  ensure  accuracy  in  the  exteriors. 
It  has  cost,  and  is  costing,  a  huge  sum  of 
money,  but  the  organisation  is  prepared  to 
back  it  to  any  justifiable  amount. 

The  next  big  picture  is  another  Sherlock 
Holmes  subject,  ‘‘The  Sign  of  Four,”  which 
is  to  be  made  by  Maurice  Elvey.  In  view  of 
the  fixed  determination  to  produce  no  films 
which  are  not  good  enough  to  make  good  m 
America,  it  is  satisfactory  to  note  the  big 
success  that  has  been  scored  on  the  other 
side  by  the  Conan  Doyle  series.  “  The 
Hound  of  the  Baskervilles,”  for  example, 
played  in  a  New  York  hall  to  30,000  dollars 
in  one  week,  a  sufficiently  fine  performance 
for  a  British  film. 

Furthermore,  another  series  of  fifteen  two- 
reeler  Sherlock  Holmes  pictures  is  to  be 
made  by  George  Ridgwell,  whose  qualifica¬ 
tions  have  been  apivreciated  all  over  the 
country  in  respect  of  a  previous  series  of 
these  subjects. 

A  big  and  interesting  production  that  will 
be  next  on  the  list  is  “The  Wandering  Jew,” 
in  which  Matheson  Lang  will  lead. 


VICTOR  MTAGLEN 


“  The  Glorious  Adventure.” 
“  Call  of  the  Road.” 
“Sailor  Tramp.” 

“The  Romany,”  etc.,  etc. 

Represented  by  ■  Frank  Zeitlin, 

3,  Gt.  Windmill  St.,  Piccadilly  Circus, 
London,  W. 


24 


October  28,  1922 


THE  MOTION  PICTURE  STUDIO 


WASHING  THE  AIR 


How  London’s  bugbear — fog— is  annihilated  by  F.  P.-Lasky 


fTlHERE  is  a  traditional  legend  in  film 
circles  that  Great  Britain  is  fog¬ 
bound  most  of  the  year.  This  is  absolutely 
wrong.  The  fact  is  that  owing  to  the  river 
Thames,  on  both  banks  of  which  the  Metro¬ 
polis  is  situated,  a  belt  of  fog  surrounds  a 
large  part  of  the  London  district  at  certain 
tunes  of  the  year.  Unfortunately,  there  has 
been  a  mania  for  buying  cr  building  film 
studios  within  the  fog-belt,  with  the  result 
that  the  river  mists  often  invade  the  studios. 

This  has  been  discovered  now,  and  the 
tendency  is  to  build  studios  outside  the  fog- 
belt.  George  Clarke,  for  instance,  is  build¬ 
ing  at  Beaconsfield,  Progress  has  a  studio  at 
Shoreham-by-Sea,  and  there  are  the  excellent 
Watcombe  Idall  Studios  at  Torquay. 

Famous  Players-Lasky  was  handicapped  at 
the  outset  by  renting  a  building  (which  it 
converted  into  a  studio)  not  only  well  within 
the  London  fog-belt,  but  on  the  very  banks 
of  a  canal.  Naturally,  it  felt  the  drastic 
effect  of  the  water-mists. 

While  Donald  Crisp  was  working  on  “Ap¬ 
pearances”  in  the  autumn  of  1920,  the 
fogs  probably  caused  the  company  a  loss  of 
about  ^’ii.ooo.  This  was  in  spite  of  the 
use  of  condenser  pipes  and  the  sealing  up  of 
ihe  building  24  hours  before  starting  work. 

Major  Charles  H.  Bell,  the  general  mana¬ 
ger,  therefore  called  in  the  assistance  of 
W.  E.  Riley,  who  for  twenty  years  has 
been  chief  architect  to  the  London  County 
Council,  and  is  responsible  for  large  ven¬ 
tilating  installations,  such  as  that  of  the 
Underground.  Later  S.  L.  Groom,  of  the 
Carrier  Engineering  Company,  submitted  a 
practical  tender  for  a  Carrier  humidifier. 

For  six  or  seven  months  Messrs.  Riley, 
Groom  and  Bell  worked  during  the  day, 
planning  and  cogitating  over  this  problem. 
The  final  result,  after  three  separate  at¬ 
tempts,  now  is,  according  to  Major  Bell  : 
“We  have  a  system  and  plant  which  has 
solved  the  question  of  continuous  photo¬ 
graphic  production  in  England — a  plant 
which  automatically  answers*  to  a  variation 
in  temperature  of  one  degree.  There  is  not 
a  day  on  which  we  shall  not  be  able  to  make 
pictures.  In  fact,  the  thicker  the  fog  the 
better  we  shall  like  it. 

“At  the  same  time  the  plant  maintains 
a  given  temperature  and  a  certain  percen¬ 
tage  of  humidity,  namely,  8  degrees  of  out¬ 
side  wet  bulb  temperature. 

“Automatic  control  is  the  most  notable 
characteristic  of  the  apparatus,  it  being  so 
sensitive  that  on  the  lighting  of  the  arc 
lamps  the  raising  of  the  temperature  one  or 
two  degrees  is  instantly  registered.  The 
plant  is  designed  to  circulate  three  and  a 
half  million  cubic  feet  of  washed  pure  at- 
mosohere  per  hour,  the  air  being  drawn 
from  outside  or  re-circulated  from  inside 
as  required. 

“First  the  air  is  brought  into  a  large 
mixing  chamber  and  meets  with  a  series  of 
obstructions  designed  to  break  up  any 
pockets  m  the  atmosphere  which  might  tend 
to  uneven  distribution.  It  then  comes  up 
against  a  series  of  180  sprays,  thus  becoming 
saturated.  Next  there  is  a  second  set,  with 
eliminator  plates,  and  then  a  second  bank 
of  eliminators,  which  are  washed  by  a  sheet 
of  water  at  very  high  pressure  in  such  a 
way  that  any  particle  of  foreign  matter, 
made  to  adhere  to  the  plates  by  a  series  of 
obstructions,  is  washed  down  into  the  main 
in  the  base  of  the  humidifier. 

“A  second  series  of  164  sprays  then  come 
into  contact  with  the  air,  these  being  fed 
by  a  circulating  pump  at  a  pressure  of 
60  lbs.  This  secondary  washing  ensures 
that,  before  the  final  elimination,  no  par¬ 
ticles  of  atmosphere  shall  be  permitted  to 


pass  this  point  without  being  thoroughly 
saturated. 

“Then  the  air  passes  through  a  further 
series  of  eliminators  before  reaching  the 
main  heating  battery. 

“Ait  this  point  the  atmosphere  is  in  com¬ 
plete  saturation,  without  any  particles  of 
moisture  being  held  in  suspension. 

“  Low  pressure  boilers  in  tihe  basement 
supply  steam  for  the  series  of  heating  banks, 
this  being  controlled  in  a  similar  way  to 
the  atmosphere,  so  that  only  the  correct 
percentage  of  steam  is  admitted  to  the  banks 
to  give  the  temperature  required,  which  is 
indicated  on  the  thermostatic  boards  on  the 
studio  stage. 


“  To  a  great  extent  the  volume  of  air  to 
go  into  the  studio  is  regulated  by  a  ther¬ 
mostat  dewpoint  control  fitted  in  the  humidi¬ 
fier.  Should  it.  start  to  rain,  the  thermostat 
would  automatically  close  the  outside  con¬ 
trol  to  the  proportion  required  to  maintain 
the  same  humidity  as  at  present.” 

Once  again  Major  Bell  gave  a  demonstra¬ 
tion — this  time  at  the  main  control  board — 
a  wonderfully  complicated  structure  won- 
i  derfully  simple  to  work.  This  communicated, 
as  by  magic,  with  the  damper  which  regu¬ 
lated  the  proportion  of  the  outside  and 
:  inside  air  to  be  circulated. 

“A  thermostat  control,”  he  continued,  “is 
■  also  fitted  on  the  studio  board,  which  acts 


A  YEAR’S  WORK 

During-  the  past  year  the  output  of  the  British  producing  field,  excluding  short  comedies 
is  as  fcllow-s  : — 

Where  the  Rainbow  Ends,  Four  Men  in  a  Van,  Man  from  Home,  Love’s  Boomerang,  Class 
and  No  Class,  Wonderful  Story,  Recoil,  Scourge,  Corner  Man,  Pickwick  Papers,  Old  Wives’ 
Tale,  Shirley,  Sinister  Street,  Jessica’s  First  Prayer,  Romance  of  Wastdale,  Passionate 
Friend,  Lamp  in  the  Desert,  A  Lost  Leader,  Half  a  Truth,  Froggy’s  Little  Brother,  All  Roads 
Lead  to  Calvary,  Chink  in  the  Armour,  Repentance,  Bohemian  Girl,  Topsy  Turvey,  Sport  of 
Kings,  Little  Brother  of  God,  Truants,  Romance  of  Old  Bagdad,  Mord  Em’ly,  Meg’s  Children, 
Dicky  Monteith,  A  Will  and  a  Way,  Sam’s  Boy,  Song  Story  Pictures,  Tense  Moments  from 
Great  Authors,  Peacemaker,  Bentley’s  Conscience,  Scarlet  Lady,  Potter’s  Clay,  Reaping, 
Worker,  Perpetua,  An  Island  Romance,  Broken  Sand,  Lonely  Lady  of  Grosvenor  Square, 
Little  Mother,  Master  of  Craft,  Hypnotist,  Adventures  of  Captain  Kettle,  Prince  of  Lovers 
Running  Water,  Bachelor’s  Baby,  Boy  Woodburn,  Lark’s  Gate,  Sailor  Tramp,  Rob  Roy, 
Sister  to  Assist  ’Er,  Trapped  by  the  Mormons,  Diana  of  the  Crossways,  Creation,  Card, 
Married  to  a  Mormon,  Wee  MacGreegor’s  Sweetheart,  When  Greek  Meets  Greek,  Cocaine, 
Expiation,  Glorious  Adventure,  Chance  of  a  Lifetime,  Pauper  Millionaire,  Man  and  His 
Kingdom,  Head  of  the  Family,  Stable  Companions,  Tense  Moments  from  Great  Operas, 
Quality  Series,  Kissing  Cup  II.,  Bill  of  Divorcement,  Love  and  the  Whirlwind,  Faithful 
Heart,  B.  and  C.  Historical  Subjects,  A  Gypsy  Cavalier,  Dick  Turpin’s  Ride  to  York,  Shifting 
Sands,  Fox  Farm,  Long  Odds,  Little  Miss  Nobody,  A  Rogue  in  Love,  Brown  Sugar,  Rogues  of 
the  Turf,  White  Hope,  Pages  from  Life,  If  Four  Walls  Told,  Nonentity,  Field  of  Honour, 
Prodigal  Son,  Skipper’s  Wooing,  Maid  of  the  Silver  Sea,  Grass  Orphan,  Squib’s  Wins  the 
Calcutta  Sweep,  Flames  cf  Passion,  Pruning  Knife,  A  Debt  of  Honour,  Romany,  Castles  in 
the  Air,  Sporting  Instinct,  Let’s  Pretend,  Paddy  the  Next  Best  Thing,  Harbour  Lights, 
Call  of  the  East,  A  Gamble  with  Hearts,  Right  to  Strike,  God’s  Prodigal,  Scientist, Lion’s  Mouse, 
Green  Sea  Island,  This  Freedom,  Petticoat  Loose,  Sporting  Subjects,  Green  Caravan,  Against 
Fearful  Odds,  Top  of  the  World,  World  of  the  Wonderful  Reality,  Pipes  of  Pan,  Hornet’s 
Nest,  Virgin  Queen,  Man  Without  Desire,  Winners  of  Fortune,  Paupers  of  Portman  Square, 
Monkey’s  Paw,  Starlit  Garden,  Out  to  Win,  Open  Country,  Sign  of  Four. 


“Passing  the  main  battery,  the  air  is  dis¬ 
tributed  by  a  large  centrifugal  fan,  which 
displaces  a  volume  of  three  and  a  half  mil¬ 
lion  feet  per  hour  and  forces  it  into  the 
studio  at  certain  intervals  along  the  walls 
at  a  pressure  low  enough  to  ensure  there 
being  no  raising  of  dust,  there  being  fifteen 
main  outlets  in  each  studio. 

“Perhaps  the  greatest  point  in  the  control 
of  atmosphere  for  photographic  purposes  is 
ihe  being  able  to  vary  it  according  to  the 
conditions  in  the  studio,  which  change  every 
minute  of  the  dav.  For  instance,  when  the 
arc  lamps  are  brought  into  use  not  only 
is  intense  heat  given  off,  but  also  an  enor¬ 
mous  amount  of  carbon  vapour,  which  has 
to  be  dealt  with  by  a  process  of  washing. 
Otherwise  it  would  photograph,  to  the  detri¬ 
ment  of  the  picture. 

“In  itself  the  plant  is  sufficiently  con¬ 
trolled  by  automatic  gear  so  that  the  light¬ 
ing  of  even  three  or  four  Kleig  lights  changes 
over  the  plant  to  meet  the  altered  condi¬ 
tions.” 

Here  Major  Bell  had  the  motor  (35  h.p.) 
put  to  work  and  demonstrated  the  air¬ 
washing  and  circulation.  He  further  ex¬ 
plained  :  — 

Get  in  Touch 

see  page  27 


on  a  main  4-inch  steam  valve  and  is  set 
for  whatever  temperature  is  required,  auto¬ 
matically  closing  the  main  steam  valve  when 
such  temperature  has  been  reached.” 

There  has  been  added  difficulty  in  carry¬ 
ing  the  large  galvanised  iron  air-duefts  into- 
the  studios  owing  to  the  solid  structure  of 
the  walls  (the  building  having  been  formerly 
used  for  a  generating  station),  in  some  parts 
three  feet  thick. 

“On  a  foggy  day,  would  the  doors  have 
to  be  kept  tiightly  shut?  ”  Major  Bell  was 
asked. 

“Not  at  all,”  he  replied.  “Owing  to  the 
air-pressure  in  the  studio  being  rather 
greater  than  that  outside  (that  is  owing  to 
the  crea'ion  of  a  plenum)  the  tendency  al¬ 
ways  is  for  the  draught  to  be  outwards.” 

COME  RIGHT  IN  ! 

It  you  are  passing,  or  if  you  want  to  ask 
a  question,  or  if  you  have  some  news,  or 
if  you  want  to  have  a  chat  over  the  busi¬ 
ness-  come  right  in !  We  are  anxious  to 
maintain  close  personal  touch  with  all  our 
readers.  'We  are  putting  you  first  all  the 
time — you  and  your  interests  are  our  chief 
concern,  and  we  want  to  emphasise  that 
you  have  a  perfect  right  to  come  in  and 
regard  our  time  as  being  at  your  disposal 
Come  light  in  I 


25 


THE  MOTION  PICTURE  STUDIO 


October  28,  ig22 


LOCATIONS  IN  EUROPE 


by  ERNEST  G.  ALLIGHAN 


It  has  frequently  been  pointed  out  as  one  of  the  advantages 
which  America  has  over  this  country  that  within  the  compass 
of  the  American  continent  there  is  a  marvellous  variation 
of  natural  scenery  for  filming  purposes.  In  the  following 
article  we  seek  to  prove  that  there  is  no  advantage  at  all  in 
this  fact.  Every  week  American  producing  concerns  are 
taking  their  stock  companies  from  the  New  York  stuidos  on 
location  to  the  Californian  districts.  We  maintain  that 


within  the  same  distance  from  London  that  Los  Angeles  is 
from  New  York  is  not  only  the  same  variety  of  scenic  settings > 
but  settings  which  are  virgin  so  far  as  the  kinematogra ph 
camera  is  concerned,  whereas  it  is  generally  conceded  that 
California  has  been  shot  to  death.  The  following  article 
has  involved  considerable  research  and  the  geographical 
situation  of  the  various  countries  will  be  readily  seen  by 
'  consulting  the  map  below. 


TN  the  first  place,  it  has  to  be  borne  in 
1  mind  that  England  is  the  terminus  of 
the  world.  Because  of  our  maritime  and 
naval  position  the  sea-ports  of  this  country 
are  the  embarkation  and  disembarkation 
points  of  all  ocean  lines.  Therefore,  using 
London  (or  Torquay!  as  his  base  of 
operations,  the  film  director  is  able  to  get 
to  every  film-point  mentioned  in  this  article 
with  no  more  wastage  of  time,  money  or 
effort  than  his  American  confrere  uses  in 
transferring  his  company  (often  a  weekly 


duty)  from  the  East  to  the  West  Coasts  of 
America. 

Nor  must  it  be  overlooked  that  within  the 
British  Isles  alone  are  some  of  the  most 
ideal  film  spots  imaginable.  There  is  the 
lake  scenery  of  Cumberland  and  Westmor¬ 
land  ;  the  valleys,  mountain  ranges  and 
passes ;  scenery  of  alpine  wildness  and 
griandeur ;  the  Derbyshire  peak  scenery  of 
rugged  hills  and  narrow  valleys  ;  peaks  ap¬ 
proached  through  rude  and  savage  passes 
flanked  with  precipices  1,000  feet  high; 


limestone  mountains  perforated  with  caves ; 
day-lighted  caverns  with  petrified  icicles 
and  transparently  blue  lakes ;  ruins  of 
castles,  abbeys  and  fortresses ;  impetuous 
rivers  and  torrents  dashing  down  the  Welsh 
mountainous  regions ;  the  grand  majes-ly  of 
the  Scottish  hills  ;  the  lochs  of  great  beauty ; 
the  verdant  plains  of  Ireland,  with  her  pic¬ 
turesque  scenery,  unique  bogs  and  the  ex¬ 
pansive  lakes  of  Killarney  nestling  in  the 
bosom  of  the  mountainous  country ;  lakes 
with  wooded  islands,  ancient  castles,  and 
mountain  streams  descending  in  glittering 
cascades 

No ;  this  country  and  Ireland  must  not 
be  under-estimated.  Their  filming  qualities 
are  not  only  virgin— they  are  undiscovered. 

One  hundred  miles  from  London  and  the 
film  explorer  is  in  France,  one-eighth  of 
which  is  covered  with  forests  to  the  extent 
of  seventeen  million  acres.  In  the  South  of 
France,  with  its  vine,  olive  and  orange 
groves,  the  climate  is  ideal  for  film  pur¬ 
poses  when  other  districts  in  Europe  are 
adverse. 

Adjoining  France  is  the  peninsula  of 
Spain  and  Portugal — a  vast  tableland  2,600 
feet  above  the  sea,  traversed  with  moun¬ 
tains.  intersected  with  rivers,  and  broken 
bv  alternating  hills  and  valleys,  which  pro¬ 
duce  a  variety  of  aspects  in  contrast  to  the 
hleak  and  barren  sameness  of  the  centre  of 
the  region. 

Along  the  Mediterranean  sea-board  the 
climate  is  mild  and  equable — snow  unknown 
and  verdure  unchecked — enabling  bananas, 
palms  and  pines  to  grow  profusely. 

Nor  should  the  vast  rock,  Gibraltar,  be 
overlooked.  This  is  1,400  feet  above  the 
sea,  three  miles  long,  and  nearly  a  mile 
wide.  It  is  joined  to  the  mainland  by  a 
low,  sandy  isthmus  nearly  two  miles  long. 
On  the  north  the  rock  is  perpendicular ; 
on  the  east  and  south  sides  it  is  steep  and 
rugged,  but  on  the  west  it  slopes  gently 
down  to  a  fine  bay,  nine  miles  long  and  half 
as  broad,  with  the  town  built  on  the  slopes 
and  the  ramparts  of  the  rocky  fortress  over¬ 
head. 

Tt  will  be  noted  that  each  of  the  geologi¬ 
cal  and  physical  aspects  of  the  various  coun¬ 
tries  mentioned  possess  considerable  worth  to 
the  film  director,  and,  what  is  more  impor¬ 
tant,  very  little  advantage  has  been  taken  of 
these  valuable  properties  as  yet.  The  poetic 
beaut  v  of  Great  Britain,  tbe  forests  of 
France,  the  prairie-like  land  of  the  Penin- 
„nla,  and  the  remarkable  rocky  fortress  of 
Gibraltar  are  potential  locations  for  the 
•  nterprising  director. 

Added  to  these  is  the  glories  of  Switzer¬ 
land,  which  is  in  the  centre  of  the  Alpine 
development,  and  consequently  the  most 
elevated  and  irregular  of  the  European 
countries.  It  is  15,260  square  miles  in  ex¬ 
tent,  a  large  proportion  of  which  is  covered 
with  lakes  and  glaciers.  Mountain  ridges 
radiate  in  all  directions,  with  narrow,  tor¬ 
tuous  river  vallevs  between  mounta-ns  from 
6,000  to  15,700  feet  in  height,  the  summits 
of  which  are  buried  in  perpetual  snow. 
The  sides  of  these  mountains  are  broken 
rrfto  every  oonceivable  diversity  of  crag, 
cliff,  ravine  and  waterfall,  dotted  at  inter- 


M  aps  showing  that  within  the  compass  of  the  same  distance  from  London  that  Los 
Angeles  is  from  New  York  there  are  as  many  ideal  locations  as  in  America. 


26 


OCTOBER  28  1922 


THE  MOTION  PICTURE  STUDIO 


WHAT  ARE  FILMS 

FOR  ? 


vals  with  clumps  of  pine  and  firs.  The 
valleys  are  beautifully  fertile,  while  the 
tract  between  the  Alps  and  the  Juna  moun¬ 
tains  contains  the  great  lakes  irom  Con¬ 
stance  to  Geneva.  The  climate  is  cold  with 
little  rain. 

And  now  add  the  physical  values  of  Italy, 
with  its  groups  of  picturesque  islands,  in¬ 
cluding  Sicily,  Sardinia,  Corsica,  Elba 
(Napoleon’s  dungeon),  and  Malta,  all  of 
which  have  great  filming  possibilities.  The 
great  plain  of  Lombardy  extends  along  the 
base  of  the  mountains  for  250  miles,  with 
an  average  breadth  of  50  miles — flat,  low 
and  fertile.  Imagine  the  film  uses  ot  such 
a  location ! 

The  atmosphere  is  of  unexampled  trans¬ 
parency,  with  unclouded  sk.es,  while  snow 
is  very  rarely  seen,  as  can  be  gathered 
when  it  is  stated  that  sugar  plantations 
are  quite  general,  while  vines,  olives  and 
orange  groves  are  a  commonplace,  and  tro¬ 
pical  plants  luxuriate. 

For  the  Garden  of  Europe,  the  film  man 
turns  to  Turkey,  where,  south  of  the  Balkan 
mountain  range,  the  country  is  covered  with 
forests  of  sycamore  and  cypress,  wonderful 
gardens  of  roses,  jasmine  and  lilac,  vine¬ 
yards  and  orchards,  while  in  Thessaly 
pomegranates,  cotton  and  tobacco  are  grown. 

Then  there  is  the  rugged  mountainous  re¬ 
gions  of  Greece.  These  ranges  are  very 
craggy  and  majestic  and  interspersed  with 
narrow  defiles,  glens,  and  basin-shaped 
valleys.  Film  directors  should  note  that 
winter  is  confined  to  December  and 
January ;  during  the  spring  and  autumn 
heavy  rains  fall,  but  during  the  six-month 
summer  a  cloud  is  never  seen. 

In  Central  Europe — Austria,  Hungary, 
Germany  and  the  smaller  States — is  a  per¬ 
fect  collection  of  film  material.  In  Austria 
the  Tyrol  and  Carpathian  mountains  are 
bold  and  continuous,  while  there  are  the 
most  extensive  plains  in  Europe — the  vast 
plain  traversing  the  Danube  has  an  area 
of  35,000  square  miles.  It  is  a  great  mining 
district— lead,  copper,  iron,  tin,  bismuth, 
marble,  sulphur  and  coal  mines  making  ex¬ 
cellent  backgrounds  for  certain  kinds  of 
photoplays. 

The  northern  region  of  Germany  is  almost 
entirely  level,  with  Vast  tracts  of  heath  and 
light,  sandy  soil,  suitable  tor  prairie  scenes. 
In  the  east,  the  Rhine  Valley  is  verdant, 
well  wooded  and  picturesque. 

Holland  is  one  unbroken  flat  district, 
without  hill,  rock  or  forest.  It  mainly  con¬ 
sists  of  moor  and  meadow  land  traversed 
by'  canals.  The  coast  district  is  protected 
from  the  inroads  of  the  sea  by  huge  dykes 
and  sand  hills,  the  latter  being  cast  up  on 
the  shore  by  the  ocean. 

With  hilly  districts  in  the  south  and  east, 
and  flat  in  the  north  and  west,  Belgium 
gives  promise  of  being  useful  to  film  direc¬ 
tors.  Its  forests  are  fairly  plentiful,  where¬ 
as  Denmark  has  no  forests  but  possesses 
large  sandy  tracts  covered  with  heather  in 
the  north. 

Recently  Stoll  had  a  company  filming  in 
Iceland,  which  revealed  itself  as  a  novel 
setting  for  films.  It  is  of  volcanic  forma¬ 
tion,  rugged  and  barren,  with  ice-clad  hills 
and  narrow  valleys  formed  by  lava  and 
ashes.  Numerous  boiling  springs  and  bogs 
of  boiling  mud  throw  up  water  and  heat 
to  a  great  height.  The  Faroe  Islands,  too, 
in  the  Northern  Ocean,  are  very  interesting. 
Twenty-two  bold  and  rocky  isles,  sixteen 
of  which  are  inhabited,  they  are  for  the 
most  part  hilly,  with  strips  of  tortuous 
valleys. 

While  the  winter  in  Sweden  is  very 
severe,  the  summer  is  excellent  for  filming 
purposes.  This  country  not  only  possesses 
a  wealth  of  mountains,  plains  and  forests, 
but  has  fine  rivers,  which  rise  in  the 
mountain-plateaux,  and  present  numerous 

( Continued  at  foot  of  next  column.) 


by  CHRISTABEL 

Tj^VERY  reader  of  the  Motion  Picture 
Studio  who  sees  this  title  will  imme¬ 
diately  have  ready  an  answer,  and  if  ail 
those  answers  could  be  written  down  it  would 
be  surprising  how  much  variation  would  be 
found  in  them.  The  business  manager  would 
say,  “  Like  any  other  business,  of  course — 
to  make  money.”  The  actor  would  talk 
about  Art,  or  earning  his  living,  according 
to  the  angle  from  which  he  regarded  his 
work.  The  director  and  inventor  would 
answer  that  any  great  industry  which  was 
in  its  infancy  offered  extraordinary  openings 
to  the  ambitious  man  who  was  not  afraid  of 
work,  while  the  author  and  scenarist  would 
think  of  the  great  new  public  to  be  reached 
through  the  medium  of  the  screen. 

Those  are  all,  perfectly  reasonable  and  just 
points  of  view,  yet  how  far  do  any  of  them 
really  touch  on  the  primary  facts  underlying 
the  film  industry,  for  the  film  Trade  is  first 
and  foremost  for  the  production  of  entertain, 
ment. 

These  remarks  come  home  to  me  with  some 
force  because  during  the  week  I  have  been 
discussing  the  opening  of  a  new  picture 
palace  which  is  going  to  start  where  I  live. 
In  talking  over  those  films  which  should 
attract  the  public  to  a  new  venture,  some 
very  interesting  points  were  raised  as  to 
which  films  really  appeal  most  to  the  ordinary 
picture-goer,  and  in  the  discussion  we  were 
unanimous  in  coming  to  the  conclusion  that 
what  this  country  wants  from  its  pictures  is 
entertainment. 

Now  that  may  seem  to  be  too  obvious  a 
finding  to  interest  any  reader  of  this  journal. 
It  is  one  of  those  platitudes  that  are  so 
generally  accepted  that  they  are  sometimes 
dismissed  from  the  mind  and  forgotten.  It 
is  just  the  fact  that  it  has  been  so  forgotten 
that  makes  it  worth  while  to  draw  the  atten¬ 
tion  of  professional  kinema  people  to  it  again, 
for  it  is  truly  the  basic  fact  of  the  industry. 

Yet  how  do  we  see  it  carried  out  at  pre¬ 
sent?  One  political  organisation  is  putting 
out  several  propaganda  plays — films  which 
may,  if  taken  up,  do  “an  immense  amount 
of  good.”  Another  organisation  is  anxious 
to  put  forward  another  film  on  a  horrible 
subject  which  could  not  in  any  circumstances 
be  regarded  as  entertainment ;  this  film  also 
will  be  put  out  with  the  avowed  intention  of 
“doing  good.” 

Where  are  these  films  going  to  be  shown? 

rapids  and  waterfalls  as  they  charge  their 
impetuous  passage  to  the  sea. 

Next-door-neighbour  Norway  is  bleak, 
rugged  and  sterile,  but  its  coast  affords 
ample  opportunity  for  certain  film  scenes. 
The  shores  are  rocky  and  precipitous,  in¬ 
dented  wih  fjords  and  fenced  by  numerous 
small  islands.  Inland,  mountain  passes 
and  plateaux  are  the  order.  These  are 
cleaved  with  steep  ravines,  down  which  the 
rivers  rush  by  wiay  of  rapids  and  wpjer- 
falls.  The  climate  is  milder  than  that  of 
Sweden  by  virtue  of  the  Gulf  Stream  . 

Russia  is  one  vast  plain  with  slight  moun¬ 
tain  ranges,  and  covered  with  forests,  while 
in  the  south  are  the  plains  and  sandy 
steppes  or  deserts  down  to  the  Caspian  Sea. 
The  forests  almost  cover  the  entire  district 
between  Moscow  and  Petrograd.  Climate 
conditions :  cold,  long  winters,  short,  hot 


ZEITLIN 

see  page  38 


LOWNDES-YATES 

1  hey  are  all  short  films  capable  of  being  in¬ 
serted  into  the  ordinary  program,  but  in  no 
sense  of  the  word  are  they  entertainment.  1\ 
is  useless  to  say  that  as  they  are  propaganda 
they  cannot  be  shown,  for  propaganda  films 
have  been  shown  without  any  indication  that 
they  were  propaganda.  It  is  only  a  few 
months  since  “Ten  Nights  in  a  Bar-room” 
was  shown  in  London,  and  though  I  did  not 
see  the  film  I  heard  it  widely  spoken  of  as. 
a  Pussyfoot  propaganda  film. 

At  the  present  moment  “  The  Four  Horse¬ 
men  of  the  Apocalypse  ”  is  running  at  the 
Palace  Theatre,  which  is  a  propaganda  film 
against  war.  This  film  has  split  those  in¬ 
terested  in  the  kinema  sharply  into  two 
classes.  I  have  heard  it  widely  discussed  in 
omnibuses,  clubs,  in  the  street,  in  private 
houses,  in  the  Kinema  Club,  in  the  theatre 
itself  and  among  the  Press.  So  far  as  it  has. 
been  my  lot  to  listen  to  these  discussions,  I 
have  never  yet  heard  a  professional  kinema 
worker  of  any  kind  who  has  not  raved  about 
the  film,  and  I  have  yet  to  meet  the  member 
of  any  other  section  of  the  public  who  has 
cared  for  it.  Why  this  divergence?  No  film  in 
the  iast  few  years  has,  to  my  thinking,  split 
the  public  into  such  sharp  sections  as  this. 
Why  ?  I  think  the  answer  is — propaganda. 

In  making  this  film  the  idea  of  entertain¬ 
ment  has  been,  if  not  lost  sight  of,  at  least 
submerged  to  the  great  idea  of  the  film,  the 
horror  and  the  terror  of  war.  There  is  little 
entertainment  in  the  picture.  If  it  were  not 
for  the  horsemen,  and  the  marvellous  trick, 
photography  of  their  ride  as  they  stream 
across  the  sky  (which  while  it  lasts  is  fas¬ 
cinating  entertainment),  few  members  of  the 
ordinary  public  would  apparently  go  to  it. 
That  is  what  they  all  say  they  went  to  see. 
T. hat  is  what  attacts  them,  and  it  is  indeed 
a  moment  well  worth  seeing. 

But  what  a  pity  !  Here  we  have  the  man 
who  is  probably  destined  to  be  the  world’s- 
greatest  director,  and  we  have  here  also  a 
great  picture,  made  on  the  principle  that 
the  basic  fact  of  the  industry  does  not  matter  l 
The  screen  is  not  a  pulpit,  it  is  not  a  lecture 
hall,  neither  is  it  a  political  hustings.  We 
do  not  pay  out  money  to  the  box  office  for 
an  improving  homily.  The  kinema  public  is 
not  highbrow.  It  likes  its  politics  and  its 
improvement  societies  taken  as  such,  and  not 
in  the  guise  of  kinema  plays  paid  for  at  the' 
ordinary  rates. 

summers,  clear  and  dry  atmosphere  in  the 
east,  north  and  south. 

For  real  desert  scenes  there  is  Northern 
Africa,  with  Morocco,  Algiers  and  Tripoli 
on  the  fringe  of  the  great  Sahara  Desert. 
Over  a  great  part  of  this  rain  never 
falls.  There  are  tracts  of  fine,  shifting 
1  sand,  and  firm,  naked  soil  of  sandstone  and 
granite,  interrupted  at  intervals  by  oases  of 
bushes  and  coarse  gras§.  During  the  past 
year  Adrian  Brunei  secured  scenes  here  for 
his  “  Broken  Sand,”  Fred  Le  Roy  Gran¬ 
ville  for  his  “Shifting  Sands,”  and  Bert 
Wynne  for  his  “Call  of  the  East.” 

Thus,  so  far  as  it  is  possible  to  show 
in  a  short  article,  that  tries  to  read  as  little 
•guide-book  like  as  possible,  we  have  indi¬ 
cated  the  various  scenic  values  of  the  districts 
that  are  no  further  from  London  than  New 
York  is  from  Los  Angeles.  We  admit  that 
hitherto  our  native  producing  firms  have 
not  exploited,  these  natural  advantages,  and' 
in  writing  this  article  we  not  only  urge  them 
to  take  this  course  of  action,  but  invite 
American  directors  to  consider  the  locations 
of  Eurqj>e. 


77 


THE  MOTION  PICTURE  STUDIO 

October  28,  1922 

44 


AMERICAN  AND  CANADIAN 

BRITISH  ONE-REEL  SU 
PROVED  A  TERRIFIC 

FAMOUS  SONGS 
OF  LONG  AGO 

(THE  SONGS  OUR  MOTHERS  USED  TO  SING). 

A  SERIES  OF  TWELVE  ONE-REELERS.  _ 

FAMOUS  POEMS 

By  GEORGE  R.  SIMS. 

A  SERIES  OF  TWELVE  ONE-REELERS. 

SPORTING 

MELODRAMAS 

A  SERIES  OF  TWELVE  ONE-REELER  DRAMAS ,  each  featuring  a  popular  Sport. 

THE  BRITISH  EXHIBITOR  CALLS 

EACH  IS  A  COMPLETE  REEL  FROM 

ENQUIRIES: 

MASTER  FILMS  LTD.,  WEIR  HOUS 


28 


October  28,  1922 


THE  MOTION  PICTURE  STUDIO 


99 

RIGHTS  FOR  DISPOSAL 

BJECTS  THAT  HAVE 
SUCCESS  IN  ENGLAND 

The  Children’s  Home.  Sweet  Genevieve.  The  Village 
Blacksmith.  Home  Sweet  Home.  Eileen  Alannah.  Sally 
in  Our  Alley.  Won’t  You  Buy  My  Pretty  Flowers. 

Comrades.  After  the  Ball.  Queen  of  the  Earth.  Silver 
Threads  Amongst  the  Gold.  Bonny  Banks  of  Loch  Lomond. 


In  the  Signal  Box*  The  Old  Actor  s  Story.  Ticket  o’  Leave. 
Lights  of  London  Town.  The  Street  Tumblers.  Sir  Rupert’s 
Wife.  The  Magic  Wand.  The  Parson’s  Fight.  The  Road  to 
Heaven*  Fallen  by  the  Way.  Sal  Grogan’s  Face.  Billy’s  Rose 

“  Quitter”  Grant  (Boxing).  Rowing  to  Win  (Rowing).  The  Making  of  the 
Gordons  (Yachting).  Playing  the  Game  (Cricket).  A  Race  for  a  Bride 
(Cycling).  Pluck  v.  Plot  (Swimming),  Wheels  of  Fate  (Motor  Car  Racing). 
The  Last  Hundred  Yards  (Running).  The  Extra  Knot  (Motor  Boat  Racing). 
Won  by  Warr  (Rugby).  The  Masked  Rider  (Motor  Cycle  Racing). 
A  Football  Favourite  (Football). 

THEM  "BIG -LITTLE  FEATURES." 

1,000  TO  !,200  FEET  IN  LENGTH. 

E  STUDIOS,  TEDDINGTON,  ENGLAND. 


29 


THE  MOTION  PICTURE  STUDIO 


October  28,  1922. 


GROWING  UP  WITH  THE 

INDUSTRY 


THE  PIONEER  COMPANY 


IN  glancing  over  the  field  of  British  production,  looking  back  at  earliest  efforts  and 
comparing  them  with  the  most  recent,  one  cannot  complete  the  review  without 
identifying  the  Gaumont  Company,  Ltd.,  with  the  progress  made  in  this  country. 

This  Company  will  next  year  be  celebrating  its  twenty-fifth  anniversary,  which  indicates 
a  longer  record  than  any  other  similar  film  organisation  in  the  world. 

And,  in  spite  of  this  Company  being  regarded  as  one  of  the  most  conservative  in  the 
Trade,  its  progress  is  shown  in  its  world-wide  activities  and  unique  organisation,  which,  I 
believe,  is  the  only  one  in  the  world  which  can  really  be  called  complete,  manufacturing  as 
it  does,  everything  required  in  kinematography  from  production  to  projection  machine,  and 
handling  films  of  every  nationality,  with  the  exception  of  German. 

One  is  very  much  tempted  to  examine  this  record  for  its  influence  on  British  production, 
and  the  investigation  is  well  repaid. 

The  operations  of  the  Company  in  England  are  directed  by  its  Joint  Managing  Directors 
(who  are  also  brothers),  A.  C.  Bromhead,  C.B.E.,  and  R.  C.  Bromhead,  F.C.A.  The  former 
has  been  at  the  head  of  the  Company  since  it  commenced  operations  in  London,  and  he  built 
the  first  studio  in  England — an  open  air  affair — at  Loughborough  Junction. 

After  some  early  efforts,  however,  the  Company  went  ahead  so  rapidly  in  other  depart¬ 
ments  of  the  business  that  the  experimentsin  production  were  temporarily  suspended,  but 
the  Company  gave  encouragement  to  other  pioneer  directors  by  commissioning  them  to 
make  pictures,  and  helping  them  with  finance. 


A  PROGRESSIVE 
POLICY 

rpHE  organisation  continued  to  grow 
rapidly  and,  with  the  engagement  of 
competent  departmental  chiefs,  Colonel 
Biomhead  found  himself  with  time  to  again 
devote  himself  to  home  production.  In 
1913  lie  opened  the  first  steel  and  glass 
studio  built  in  England  for  the  specific 
purpose  of  producing  films.  It  is  a  fact 
that  until  quite  recently  this  was  the  <  nly 
specially  built  film  studio  in  England. 
Even  now  it  only  shares  the  distinction 
with  one  other  (and  that  not  yet  officially 
opened),  all  other  studios  in  England  being 
converted  buildings  originally  used  for 
other  purposes. 

The  Gaumont  Studio  is  at  Lime  Grove, 
Shepherd's  Bush,  London,  adjacent  to  tbe 
big  Gaumont  works.  It  is  on  two  floors,  is 
well-equipped,  and  is  used  for  the  pro¬ 
duction  of  the  two  brands  of  pictures, 
“British  Screencraft”  Productions  and 
“Westminster  ”  Films,  and  it  can  also  be 
hired. 

In  this  studio  the  Company  made  rapid 
progress,  but  during  the  war,  work,  owing 
to  lack  of  man-power,  became  spasmodic. 
Immediately  following  the  Armistice,  how¬ 
ever,  the  Company  proceeded  to  gather  a 
staff  together,  and  after  a  few  preliminary 
canters  to  get  the  organisation  complete  and 
working,  it  embarked  on  the  most  ambitious 
production  attempted  in  Britain  up  to  that 
date.  This  was  the  first  picture  to  be 
made  in  England  following  the  American 
style  of  technique,  i.e.,  in  building  solidly 
constructed  “sets.”  This  picture  was  “The 
Fall  of  a  Saint” — since  exploited  in 
America.  Other  productions  which  fol¬ 
lowed  showed  a  rapid  advance  in  technique, 
and  most  have  also  been  exploited  in  the 
U.S.A. 

A  word  may  be  interjected  here  on  the 
producing  policy  of  the  Company.  It  has 
been  a  very  steady,  somewhat  conservative, 
yet  nevertheless  progressive  policy.  World 
methods  and  developments  were  studied 
and  the  Company  proceeded  along  the  lines 
of  producing  pictures  with  the  distinctly 
British  flair,  but,  nevertheless,  capable  of 
appealing  to  all  nationalities.  The  Com¬ 
pany  moved  steadily  forward,  never  attempt¬ 
ing  too  much,  but  always  advancing. 

( Continued  at  foot  of  next  column.) 


STAKES  IN  THE 
INDUSTRY 

nUEIE  company  is  producing  at  the  rate  of 
about  eight  pictures  a  year  in  its  studio, 
and  is  also  financing  and  buying  from 
independent  producers  to  such  extent  that 
its  1922  British  program  is  the  most 
important  offered. 

It  controls  the  world’s  rights  for  several 
other  British  productions,  including  the  film 
version  of  Rafael  Sabatini’s  “Bluff,”  an 
adaptation  of  Britain’s  most  popular  vaude¬ 
ville  comedy  sketch,  “A  Sister  to  Assist  ’Er  ’’ 
(which  has  toured  the  world),  and  a  unique 
series  of  short  films  based  on  opera  stories, 
called  “  Tense  Moments  From  Opera.” 

in  addition,  it  has  also  acquired  the  United 
Kingdom  rights  of  J.  Stuart  Blackton’s  “A 
Gipsy  Cavalier  ’’  (with  Georges  Carpentier) 
and  Donald  Crisp’s  “Tell  Your  Children.” 
At  the  moment  it  is  certain  that  apart  from 
its  other  large  interests,  the  Gaumont  Com¬ 
pany,  Ltd.,  has  a  greater  stake  in  British 
film  production  than  any  other  organisation 
in  this  country. 

Its  future  policy  is  to  be  “Big  Pictures 
Only,”  and  subjects  already  contemplated  for 
release  in  1923  give  indication  of  even  more 
ambitious  projects  than  “A  Prince  of 
Lovers,”  “Rob  Roy”  and  “The  Scientist.” 
We  shall  have  more  to  give  on  this  program 
shortly. 


.  Eo^r  years  after  the  Armistice,  that  is, 
in  the  spring  of  this  year,  the  Company 
presented  one  of  the  greatest  dramas  yet 
produced  in  Britain,  a  classic  able  to  lioh 
its  own  with  all  others,  and  a  picture  of 
a  quite  distinctive  type  and  original  con¬ 
ception.  This  was  “A  Prince  of  Lovers  ”— 
The  Romance  of  Lord  Byron— which  Colonel 
Bromhead  now  has  with  him  in  New  York. 
It  is  probable  that  by  the  time  these  lines 
are  in  print  negotiations  for  the  sale  of 
the  U.S.A.  rights  will  have  been  completed, 
and  it  is  on  record  that  this  is  one  of  the 
first  British  pictures  for  which  American 
buyers  have  really  shown  any  keenness  in 
competing  against  each  other.'  This  picture 
was  the  first  to  be  publicly  shown  under 
the  auspices  of  the  British  National  Film 
League,  in  which  Colonel  Bromhead  was 
the  prime  mover,  and  of  which  he  is  the 
first  chairman.  Colonel  Bromhead  is  one 
of  the  greatest  influences  in  British  film 
production  to-day. 


A  BUNCH  OF 
SUPERS 


INCIDENTALLY,  “A  Prince  of  Lovers” 
inaugurated  for  the  Gaumont  Company 
a  program  of  super-productions  all  of  a 
standard  to  make  an  appeal  to  the  American 
as  well  as  the  British  market.  The  picture 
is  now  being  quoted  in  this  country  as  a 
reference  ranking  alongside  the  works  of 
D.  W.  Griffiths  and  Rex  Ingram.  It  was  pro¬ 
duced  by  Captain  Calvert,  member  of  a 
famous  theatrical  family,  and  it  featured 
Howard  Gaye  (for  four  years  directing  and' 
playing  for  Griffiths)  as  Lord  Byron,  and 
Marjorie  Elume,  one  of  the  most  attractive 
and  talented  of  British  screen  artistes,  as 
Lady  Byron. 

Captain  Calvert  has  now  completed 
another  “  British  Screencraft  ”  production, 
temporarily  titled  “  The  Scientist.  ”  It  is 
said  that  this  picture  shows  very  fine  work¬ 
manship  in  all  departments.  The  drama 
is  based  on  an  idea  of  radio-vision  and  has 
several  original  twists,  including  a  terrific 
climax  in  which  the  villain  is  “put  out  ”  by 
a  powerful  X-ray  instrument.  At  the  same 
time,  sets,  direction  and  photographic  effects 
measure  up  to  anything  yet  presented  from 
either  side  ot  the  Atlantic.  The  featured 
artistes  ai£  Majorie  Hume  and  David  Haw¬ 
thorne. 


Gaumont’s  second  super  of  the  year,  “Rob 
Roy,”  was  booked  to  the  Glasgow  Salon 
at  a  record  figure  for  the  British  Isles— £1,000 
per  week,  for  a  fortnight’s  run.  It  ha.ii 
received  more  publicity  than  any  other  pic¬ 
ture  released  here,  and  has  broken  all 
records  in  Scotland,  playing  to  bigger  busi¬ 
ness  and  more  enthusiasm  than  any  Chaplin 
picture,  and  beating  “Over  the  Hill,”  which 
previously  held  the  record.  It  opened  at  the 
Salon  on  Monday,  against  the  opposition  of 
four  big  films,  including  “Wav  Down  East,” 
and  on  Monday  night  the  police  stepped  in 
to  handle  the  queue.  The  theatre  is  now 
packing  out  six  performances  a  day,  at 
11  a. in.,  1  p.m.,  3  p.m.,  5  p.m.,  7  p.m.  and 
9  p.m.,  and  money  has  been  turned  awav 
every  night.  This,  in  spite  of  the  fact  that 
only  one  comedy  is  being  shown  with  the. 
picture  and  prices  have  been  raised. 

Of  course,  “Rob  Roy”  is  a  Scottish 
national  hero  of  the  early  eighteenth  cen- 
tury,  and  most  of  the  scenes  of  the  picture 
were  filmed  in  the  beautiful  Scottish  High¬ 
lands.  There  are  2,000  players  in  the  cast, 
and  the  picture,  a  spectacular  romance,  is 
loaded  with  action.  The  film  is  booking 
equally  well  in  England,  where  it  will  be 
released  later. 


Mention  of  these  three  films  serves  to  show 
that  “variety  ”  is  one  of  the  main  planks 
m  the  Gaumont  production  program,  and 
the  fact  is  further  emphasised  in  "other  pro¬ 
ductions  made  recently,  such  as  “A  Soul’s 
Awakening  ”  (with  David  Hawthorne  and 
Flora  le  Breton),  a  clever  study  of  a  brutal 
character;  “Class  and  No  Class”  (with 
David  Hawthorne),  an  amusing  story  of 
nouveau  riche  social  life,  with  a  good  dramatic 
climax;  “The  Fortune  of  Christina  M’Nab  ” 
(with  David  Hawthorne  and  Nora  Swin¬ 
burne),  a  fine  adaptation  of  Sarah 
Macnaughton’s  amusing  novel;  “The 
Autumn  of  Pride”  (with  David  Hawthorne 
and  Nora  Swinburne),  a  tale  of  the  British 
countryside,  with  wonderfully  picturesque 
exteriors  and  with  an  element  of  good 
mystery  melodrama;  “In  His  Grip  ”  a 
wonderful  and  unusual  character  study 
taken  from  David  Christie  Murray’s  novel 
and  others.  ’ 


Most  of  these,  including 
Christina  M’Nab,”  have 
America. 


“The  Fortune  of 
been  sold  to- ' 


30 


October  28,  1922  THE  MOTION  PICTURE  STUDIO 


Latest  Features  : — 

“  Three  Live  Ghosts  ”  -  -  -  ( Famous  <P layers) 

“  The  Man  from  Home  -  „  „ 

“  Broken  Sand  ”  -  -  -  -  (zAtlas  Biocraft ) 

“Squibs  Wins  the  Calcutta  Sweep”  ( Welsh-Pearson ) 

“  Harbour  Lights  ”  {Tom  Terriss-Ideal ) 


Address  : —  Phone  . — 

KINEMA  CLUB,  Hampstead 

9,  Great  Newport  St.,  London,  W.C.  2846. 


THE  MOTION  PICTURE  STUDIO 


October  28,  1922 


Stewart 
Rome 


LEADING  MAN  IN 

miiimiiimiiimimimiiiimiiiiiiiiiiiiiimimiMiiiiiimiimmmmmimmmmmiimiiiii 

100  PHOTO  PLAYS. 

MiiiimmiiiiiiiiiiiimMiiiiimimriimiiiiiiiiriiiiiiiiniTiiiiiiiiiiiiiimmiiiiimiiiiimiiiiiiii 


“  A  Daughter  of  Eve.” 

“  Hearts  and  Saddles  ” 

(“  A  Gentleman  Rider”). 

etc. 


“  Snow  in  the  Desert.” 
“The  Great  Gay  Road.” 
“The  White  Hope.” 


etc. 


iiimiiiMiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiimiiii 


Address  : 

1 1 1 1 1 1 1 1 1  m  1 1 11 1 11 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 11 1 1 1 1 


10,  Chisholm  Road, 

Richmond,  Surrey,  England. 


32 


October  28,  1922 


THE  MOTION  PICTURE  STUDIO 


BRITISH  PRODUCERS  UNITE 


The  British  National  Film  League  Stabilises  the  Industry 
By  CHAS.  HOPPER,  Secretary,  B.N.F.L. 


YEAR  ago  a  number  of  the  principal  British  producers  and 
renters  who  had  certain  ideas  in  common  for  the  advance¬ 
ment  of  British  films  at  home  and  abroad  met  together  and 
formed  the  British  National  Film  League.  The  members  sub¬ 
scribed  to  the  following  conditions  : 

Co-operation  of  producers  and  renters  for  publicity  purposes. 

A  guarantee  t o^  show  on  the  League  Program  during  1923 
a  given  number  of  British-made  films. 

An  undertaking  not  to  book  any  British-made  film,  whether 
issued  on  the  League  Program  or  not,  before  the  Trade  show. 

Reduction  of  the  present  interval  between  Trade  show  and 
release  date  to  6  or  7  months,  or  even  less  if  this  can  be 
arranged. 

These  constituted  the  principal  regulations  of  the  League. 
There  was  a  further  general  understanding  that  while  members 
should  retain  complete  independence  and  freedom  of  action,  the 
principle  of  co-operation  should  be  applied  whenever  possible,  and 
Trade  show  and  release  dates;  arranged  to  avoid  clashing. 

The  British  film  Industry  had  for  some  time  been  suffering 
from  the  uncertainties  and  inconveniences  of  the  “blind-booking” 
system  ;  and  the  League  with  its  special  aims  and  objects  was 
generally  welcomed  by  the  Trade  and  the  Press ;  although  certain 
British  and  American  renting  houses  continued  to  uphold  the 
old  system  of  blockt-ibooking. 

The  League  planned  fi>  show  films  to  the  Trade  at  the  rate 
of  one  a  week,  from  the  1st  of  June,  1922,  and  to  release 
these  films  weekly  from  January,  1923,  onwards. 

On  the  whole,  this  program  has  been  faithfully  followed, 
although,  owing  to  the  holiday  season,  two  or  three  weeks  had 
to  be  missed.  To  the  end  of  this  week,  twentv  films  will  have 
been  Trade  shown  for  release  on  the  League  Program  in  1923. 
These  include  such  films  as  “A  Prince  of  Lovers  ”  (the  famous 
Bvron  picture),  “The  Lilac:  Sunbonnet,”  “A  Sailor  Tramp,” 
“Son  of  Kissing  Cup,”  “The  Sporting  Instinct,”  “Squibs  Wins 
the  Calcutta  Sweep,”  “Rob  Roy,”  “The  Crimson  Circle,”  and 
the  “  Romance  of  History”  series  of  short  films. 

All  these,  and  others  shown  on  the  Program,  received  favour¬ 
able,  and  in  many  cases  excellent  notices  from  the  Trade  and 
lav  Press.  The  members  of  the  League  have  every  reason  to  be 
satisfied  with  the  bookings  of  their  films  already  arranged  for 
1923.  It  is  recognised  that  the  maintenance  of  a  high  standard 
of  quality  is  of  vital  importance,  not  merely  to  retain  and  increase 
the  League’s  hold  on  the  home  market,  but  alsol  to  introduce 
its  films  abroad,  which  is  another  of  its  aims. 

Quite  a  number  of  recent  British  films,  including  manv  of 
those  of  members  of  the  League,  have  been  popular  successes 
in  America.  Our  transatlantic  friends,  who  have  practically 
monopolised  the  film  Industry  of  the  world  for  the  last  ten  years, 
are  beginning  to  realise  that  the  only  hope  of  increasing  general 
interest  in  the  kinema  is  to  vary  the  program  more.  This  can 
only  be  done  effectively  by  an  international  exchange  of  the 
best  tvpe  of  films  procurable. 

Thoughtful  people  in  the  film  Industry  realise  that  the  kinema 
can  only  maintain  and  increase  its  hold  on  the  entertainment¬ 
seeking  public  so  long  as  those  who'  control  it  keep  an  open 
mind  and  an  open  screen  for  the  best  type  of  photo-plays, 
whatever  their  source  of  origin;  just  as  the  international  theatre- 
keeps  an  open  stage  for  the  best  drama. 

If  film  manufacturers  fail  Lt  get  out  of  the  groove  which  offers 
such  a  tempting  line  of  least  resistance — if  they  ck>  not  welcome 
the  inflow  of  new  ideas  and  the  stimulus  of  healthy  competition 
which  a  free  international  exchange  of  good  films  alone  affords — 
then,  as  monotony  invariably  palls  on  the  pleasure-seeking  public, 
a  large  number  of  kinemas  may  be  turned  into  theatres,  variety 
halls  and  skating  rinks,  to  the  detriment  of  film  producing 
interests. 

American  films,  particularly  the  good,  so-called,  “super  ”  and 
spectacular  films,  have  been  and  still  are  welcome  in  Great 
Britain ;  and  so  are  good  American  picture-dramas,  although 
while  our  own  production  was  limited  by  the  war,  the  monotony 
of  American  films,  good  as  many  of  them  were,  was  largely 
responsible  for  thie  recent  depression  in  the  film  exhibiting 
Industry. 


Just  as  the  judicious  varying  of  programs  has  brought,  and 
is  bringing,  better  times  to  exhibitors  in  this  country  (England) 
so  will  American  exhibitors  reap  the  benefit  when  they  show  good 
British  films  of  the  type  released  on  the  British  National  Program. 
And,  indirectly,  American  film  manufacturers  will  benefit  in  the 
greater  prosperity  and  vogue  which  the  kinema  will  enjoy  all 
over  the  world,  once  the  principle  of  free  trade  in  really  good 
films  is  generally*  recognised  and  accepted. 

The  enthusiastic  welcome  recently  given  to  the  Welsh-Pearson 
film,  “  Squibbs  ”  (shown  in  American  as  “Me  and  My  Gal  ”), 
seenis  to<  show  that  good  British  humour,  when  it  is  combined 
with  really  good  acting  like  'Betty  Balfour’s,  is  and  will  be  appre¬ 
ciated  across  the  water.  And  one  can  fancy  that  some  of  the 
sporting  films  with  well-told  stories  which  figure  on  the  League 
Program  would  go  well  in  America. 

Admitting  America’s  pre-eminence  with  the  super-film  and  the 
spectacular  drama,  the  Englishman,  according  to  Goldwyn  and 
Laskv  two  years  ago,  when  thev  were  over  here  trying  to 
corner  our  leading  novelists  for  the  film,  has  a  special  gift, 
tradition — call  it  what  you  like — for  the  continuity  story.  In 
this  respect  our  best  British  films  frequently  excel  American 
photoplays  of  a  similar  type.  While  exploiting  the  drama  and 
the  surprise  of  the  story  pictured,  British  films  are  controlled 
by  a  keener  sense  of  proportion  and  kept  more  closely  on  the 
plane  of  actuality.  Sensational  and  unlikely  incidents  are  not 
introduced  for  the  sake  of  an  effect  which  destroys  the  probability 
of  the  story. 

I  believe  that  the  British  audience  likes  to  feel  that  it  is 
seeing  real  things  happening  to  real  people;  and  I  understand 
that  America  likes  more  highlv-spiced  fare.  One  thing  is  certain  ; 
we  all  still  have  much  to  learn  about  what  the  larger  and  quieter 
section  of  the  kinema-frequenting  public  really  likes  and  wants. 


SUBSCRIPTION 
ORDER  FORM. 

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"MOTION  PICTURE  STUDIO  ” 

93,  Long  Acre,  London  W.C.2. 

Please  send  me  a  copy  of  the  “Motion 


Picture  Studio  weekly  for . months 

from  issue  of . lor  which  I 

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6  mons  $1  25c 
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Name 


Address  (to  where  copies  are  to  be  sent)  . — 


Date 


33 


THE  MOTION  PICTURE  STUDIO 


October  28,  1922 


ARTISTES 


ATHALIE  DAVIS 

Juvenile  Leads, 
Comedy  &  Emotional  Parts. 

Latest  Film  : 

“Hims  Ancient  and  Modern.” 

“The  Last  100  Yards.” 
Corns.  :  70,  Goldhurst  Ter¬ 
race,  Hampstead,  N.W.6. 
’Phone  :  Hampstead  4200. 


NOEL  GRAHAME 

Heavy  Character  &  Comedy. 
Heavy  lead  :  “  Bladys  of  the 
Stewponey  ”  “Cost  ofa  Kiss,” 
“  Britain's  Naval  Secret,”  etc. 
12,  Glebe  Place, 

Chelsea,  S.W.3, 
and  Kinema  Club. 
’Phone:  Regent  2131. 
Photo  by  Navana 


FRED  WRIGHT. 

The  Crazy  Hunchback 
in  the  colour  film 
‘‘The  Glorious  Adventure,” 
Covent  Garden  Theatre. 
THE  COPSE, 

WEST  DRAYTON 
’Phone.-  Yiewsley  82,  or 
Kinema  Club. 


EVELYN  BRENT 

Latest  Productions, 

“  Demos,”  “  Sonia,” 
“Laughter  and  Tears,”  etc. 
At  present,  Famous  P.-L. 

Bus.  Corns.,  Sidney  Jay, 
Suite  13,  Palace  House, 
128  132,  Shaftesbury  Av. ,  W.r 
Regent  4329. 


GORDON  HOPKlRK 

Leads-Ideal:  'Sybil,'  ‘Ernest 
Maltravers  ’  Direct:  ‘t  our 
Men  in  aVan.’  Masters  :‘Fra 
Diavolo,”  Bride  of  Lammer- 
moor,’  ‘  Faust,’  *  Maritana,’ 
'Jane  Shore.’  ‘Stella’: 
P.  &  B.  ‘  Settled  in  Full.’ 
B.&C  :  ‘The  Oueen’s  Secret.’ 
Artistic:  ‘The  Skipper’s 

Wooing’  Address: 

School  House.  Tower  Street, 
W.C  2  or  Kinema  Club. 


MARY  ODETTE 

Just  concluded  :  “  The  Faith¬ 
ful  Heart  ”  and  “Windows  ” 
(Comedy  Theatre) 
Latest  Releases  : 

“Wonderful  Year,’’ 

“AH  Roads  Lead  tc  Calvary.” 
All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  ,Av.,  W. 1 
Reeent  a329. 


GORDON  BEGG 

Dramatic  —  Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.ll, 
Telephone:  Batterse  '  21. 


WARREN 

HASTINGS 

5,  POND  PLACE. 
CHELSEA 
S.W.3. 


ROSIN  A 
WRIGHT, 

Famous- Lasky,  Stoll,  Lon¬ 
don.  Samuelson,  Davidson, 
Ideal,  Broadw'St,  etc. 

7  years  Film  Experience. 

8a,  GOLDERS  WAY. 
GOLDERS  GREEN, N.W11 
or  Kinema  Club. 


F. 


C  R  E  M  L  I  N  . 


ARTISTES 


FLORKNCE INGRAM 

90a,  LEXHAM  GARDENS, 
KENSINGTON,  W.8 
West  4519. 

British  Super  Productions, 
Davidson  ;  Beacon  Films, 
Daisy  Productions,  “Mrs. 
Stanton”  second  lead  in 
“ Gypsy  Blood.” 


GEORGE  KEENE 

Star  Lead.  Disengaged. 
Featuring—  “  Black  Sheep,” 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters,” 

“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 
Address  : 

121b,  Church  St.,  Croydon 
’Phone  :  Croydon  835. 


DAISY  BURRELL 

Just  finished  plaving  lead  in 
“Cinderella”  panto. 

Last  Film  :  Star  part  in 
“  Pride  of  the  Fancy.  ’ 

OPEN  TO  OFFERS. 
39,  Avonmore  Road, 

West  Kensington. 
’Phone  •  Western  675. 


MELINDA  LLOYD 

Alliance,  The  Councillor’s 
Wife  in  “The  Card,”  Ideal, 
Samuelson,  Granville  Pro¬ 
ductions,  Laskys,  etc. 

All  corns.  :  Sydney’  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av.  W-C. 


LILIAN 

HALL  DAVIS. 

JUVENILE  LEADS. 
Samuelson,  Ideal,  Gra¬ 
ham  Wilcox,  etc.,  etc. 
All  corns.  : 

Worton  Hall, 
Isleworth,  Mi  'dlesex 


THELMA 

MURRAY 

Character  &  Emotional  parts 
Just  finished  work  in  “Crea¬ 
tion”  for  Raleigh  King  Films, 
now  playing  lead  for  Masters. 
All  corns  :  “LYND  -\LE.” 
OAKLEY  RD. 
WHYTEl.EA FE,  SURREY, 
or  to  the  Kinema  Club. 


MARGARET 

HOPE, 

Character  &  Juvenile  Leads. 

Late  Ideal,  Masters,  Stolls, 
etc.,  etc. 

42,  Bland  ford  Square, 
Marylebone,  N.  W.l. 
Phone:  Padd.  7211. 


<5  Montem  Road,  Forest  Hill,  S.E. 23,  or  Kinema  Club.  | 


DOUGLAS  WEBSTER 

Juvenile  Character  Lfads. 

I  tage  Experience. 

Just  completed  “  Leroy 
Lindsay”  in  "Shifting  Sands1’ 
(Granville  Productions). 
All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-. 32,  Shaftesbury  Av. 
’Phone  :  Regent  4329. 


ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 
Character  Parts,  “  Mrs.  Gatty,’’  In  ‘‘Christie 
Johnstone  ’’  (Broadvvest),  “  Margaret  Howe’’ 
in  “  Beside  the  Bonny  Brier  Bush  ”  (Lasky). 

55.  Campden  St.,  Kensington,  W.8. 

Tel.  :  Park  3623. 


HETTY  CHAPMAN 


Character  and  Comedy. 

18,  WYMER1NG  MANSIONS, 

MA1DA  VALE,  W. 


ARTIST  tS  .  . 


HUGH  MILLER 


6,  MILLMAN  ST., 
W.C.l. 


Telephone  : 
Gerrard  4432 


ARTHUR  PUSEY 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagoon’’  for  I.V.T.A 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l.* 


PAIGE, 


CHARACTER 

ACTOR. 


INVITES  GOOD  OFFER.  Plus  or  minus  all  or 
any  portion  of  NATURE’S  Beard  and  Moustache. 
Beard,  etc.,  NOW  in  the  rough. 

Stoll,  Blackton,  Fox,  The  Windsor,  etc. 
VARIED  STAGE  EXPERIENCE. 
Address  :  See  “  Who’s  Where.’’ 

’Phone:  Streatham  264. 

CH  A  K  I. ES  TE  V E Y 

as  Captain  Gething  in  the  Artistic  P.oduction, 
“  The  Skipper’s  Wooing.” 

At  present  playing  “  Earl  Paget”  in  the  J.  Stuart 
Blackton  Production  “The  Virgin  Queen.” 
Address  : 

15,  STOKENCHURCH  ST.,  FULHAM,  S.W.6. 


MARIE  AULT, 

Character  and  Comedy. 

235,  King  s  Road,  Chelsea. 

R.  LUCITA  SQUIER, 

Scenarios  and  Originals.  Five  vear-  with  Marshal 
Neilon  Productions  “PENROD." 

Address  :  44,  Great  Russell  Street,  London,  W.C. 2. 

MILTON  ROSMER 

INVITES  OFFERS. 

16,  Weymouth  Street,  W.i.  Phone:  Langham  2243 

MRS.  HUBERT  WILLIS, 

Character  and  Emotional  Parts. 

29,  St.  Peter’s  Square,  W.6.  ’Phone  :  Hammersmith  85, 
or  Kinema  Club.  Regent  2131. 


CAMERAMEN.  . 


ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN— 

:  SCIENTIFIC  OUTFIT.  ; 
Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  ctreet,  W.C. 2. 

’Phone — Regent  2131. 


L.  G  .  E  G  R  O  T 

EXPERT  CAMERAMAN. 

“  The  Better  ’Ole,”  etc.,  etc., . 

.  .  .  .  .  “  The  Wonderful  Story.  ” 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W.2. 

’Phone  :  Streatham  3085. 


COSTUMIER. .  . 

Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W, 

’Phone;  Gerrard  612. 


34 


October  28,  1922 


rHE  MOTION  PICTURE  STUD  0 


SCENARISTS.  . 


•  • 


GERALD  DE  BEAUREPAIRE. 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 

KINCHEN  WOOD, 

Late  Wm.  Fox  Studios,  Los  Angeles. 

7,  Wymering  Mansions,  Maida  Vale,  W.9. 


To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
SUPPLIED - 

From  your  own  Photo,  in  best  glossy  style  :  — 

One  position  17/6  per  gross. 

Two  positions  30/-  ,, 

Apply— 

PICTURES,  LTD.,  88,  Long  Acre,  W.C.2. 


JOHN  SALTER 


Established 
1896. 

CAMERAS,  PROJECTORS, 

LOCAL  TOPICALS, 

13,  Featherstone  Buildings,  Holborn,  W.C.L 
’Phone — Chancery  7408. 


THIS  SPACE  TO  LET 
17s.  6d.  for  13  insertions 


LEICHNERS 

WORLD 
RENOWNED 


TeiNT 

Leiehnel 

&ERUN 

in  Qr  1 


Obtainable  from  all  Chemists 
and  Theatrical  Costumiers 

If  any  difficulty  in  obtaining 
same  apply  direct  to 

Sole  British  Agents : 

VANITIES  LTD., 
15a,  Whitcomb  St. 

(Off  Leicester  Sq.), 

W.C.2 


GREASE 
PAINTS 

&  POWDERS 


WHO’S  WHERE. 


Several  directors  have  explained  to  us 
me  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  "have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 


“  ^pHE  most  useful  column,  to  my  mind, 
and  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  is  ‘Who’s 
Where.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.  ’  ’ — 
GHALLIS  N.  SANDERSON. 

“  T  PERSONALLY  would  like  to  see 
-*■  more  artistes  using  vour  space  under 
the  heading  of  ‘  Who’s  Where.’  ”  — 

H.  B.  PARKINSON. 

“  'T’HE  column  which  is  of  most  service 
to  us,  and  which  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  " — 
NORMAN  WALKER  (Capt.),  Alliance  Films. 


ATWOOD,  ALBAN :  25,  Stanley  Crescent, 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.ii.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercorn  Place,  N.W. 
Hampstead  3U83 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

CAREW,  JAMES,  15,  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3904 

CHESNEY,  ELIZABETH  :  c  o  Miss  Morris, 
25,  Clevedon  Gardens,  W.2.  (Fiat  4). 
Padd.  5844. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
Redcliffe  Gardens,  S:W.  10.  ’Phone: 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.i  1.  Park  2077. 

ESMOND,  ANNIE :  43,  Richmond  Road, 
Westbourne  Grove,  W.2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

FANE,  DOROTHY  :  12A,  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 

GRACE,  ADELAIDE,  103,  Morshead 
Mansiors,  Maida  Vale,  W.  9. 

GRAFTON,  GEORGE  :  289,  Scott  Ellis 

Gardens.  St.  John’s  Wood,  N.W. 
Paddington  6928. 

GREGORY,  FRANK,  Character,  107,  St. 
Alban’s  Avenue,  W.4. 

HALLIDAY,  LENA,  14,  Fernwood  Avenue, 
Streatham,  S.W. 

HARRIS,  GEORGE,  33,  Torrington  Square, 
W.C.l. 

HASTINGS,  WARREN,  5,  Pond  Place, 
Chelsea,  S.W. 3.  Western  7160. 

HOWARD,  LIONELLE:  108,  Alderbrook 
Road,  Balham,  S.W.I 2. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  ’  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977 


NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

PAXTON,  SYDNEY:  28,  Bejford  Place, 
Russell  Square,  W.C.  Museum,  7235. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell,  S.E.5. 

RAYNER,  MINNIE  :  Kingwater  Cottage, 
Churcu  Walk,  Thames  Dittoo. 

ROME,  STEWART  :  io,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  32.  Lauderdale  Mans. 
Maida  Vale.  Maida  Vale  2177. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  15,  Grove 
Mansions,  North  Side,  Clapham  Com¬ 
mon  12.  Latchmere  4343. 

STEERMAN  A.  HARDING  :  56  Portland 
Road,  W.i  1.  Park  2529. 

STERROLL,  GERTRUDE  :  14.  Queen  s 

Road.  St.  John’s  Wood,  N.W. 8. 

TEMPLETON,  BEATRIX  :  20.  Foxglove 
Street,  Wormholt  Estate,  W.  12. 

THATCHER,  GEORGE:  33,  Denbigh 
Street,  Belgrave  Road,  S.W.  Victoria 
2060. 

TREE,  MADGE  :  15,  Lancaster  Court,  New. 
min  St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Road. 
Barnes,  S.W.  13.  Putney  1945. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 
2131. 

WALCOTT,  ARTHUR:  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Regent  2131. 

WILLIS,  HUBERT,  Mrs.,  29,  St.  Peter’s 
Square,  W.6.  Hammersmith  85. 

Two  Lines,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a  year,  prepaid. 

Extra  lines ,  is.  per  insertion. 


THIS  SPACE  TO  LET 
£2  10  0  for  13  insertions 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  Y'ELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M  LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.I, 

’Phone:  Regent  4747 
or  Kinema  Club,  Regent  2131. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 

NOW  BACK  IN  LONDON. 


THE  MOTION  PICTURE  STUDIO 


October  28,  1922 


COMPLETE  LIST  OF  ALL  THE  BRITISH  STUDIOS,  TOGETHER 
WITH  ADDRESSES,  TELEPHONE  NUMBERS, 


Adelqui  Millar  Productions. 

Address  :  17,  Leinster  Square,  W. 

Albert  Phillips  Film  Production. 

Address  :  3,  Wardour  Street,  W.l. 
Phone  :  Regent  3282. 

Film  :  “  Fatty’s  Overtime.” 
Director  :  Edward  D.  Roberts. 
Star  :  Fatty  Phillips  and  Athalie 
Davis. 

Scenarist  :  Muriel  Alleyne  and 
Christabel  Lowndes-Yates. 
Cameraman  :  Frank  Canham. 
Stage  :  Scheduled. 

Alliance  Film  Co. 

Stddio  :  St.  Margaret’s,  Twicken¬ 
ham. 

Phone  :  Richmond  1945. 

Route  :  Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s.  Fare  : 
1st,  2s.  04. ,  3rd,  Is.  OJd.  ;  R.T., 
1st  3s.  Id.,  3rd  2s.  Id. 

From  Waterloo  :  A.m.,  every 
10  minutes  ;  from  St.  Margaret’s 
every  10  minutes. 

Artistic  Films,  Ltd. 

Address  :  93-95,  Wardour  Street, 

W.  1. 

Phone  :  Gerrard  3210. 

Film  :  “  The  Monkey’s  Paw.” 
Director  :  Manning  Haynes. 
Scenarist  :  Lydia  Hayward. 
Cameraman  :  Frank  Grainger. 
Stage  :  Casting  shortly. 

Atlas  Biocraft. 

Address  :  16,  Albemarle  St.,  W. 
Gen.  Manager  :  Miles  Mander. 
Film  :  “  The  Man  without  Desire.” 
Director  :  Adrian  Brunei. 

Star  :  Ivor  Novello. 

Cameraman  :  Harry  Harris. 
Scenarist  :  Frank  Fowell. 

Stage  :  Third  week. 

Barkers. 

Address  :  Ealing  Green,  London, 
W.  5. 

Phone:  Ealing  211  and  1582. 
Studio:  Vacant. 

Route  :  C.L.R,  Tube  to  Ealing. 

B.  &  C.  Productions. 

Address:  Hoe  St.,  Walthamstow. 
Phone  :  Walthamstow  364  and  712. 
Route  :  Bus  38.  Tram  81  to 
Bakers’  Arms.  G.E.R.,  Liver¬ 
pool  Street  to  Hoe  Street. 
Fare :  1st  Is.  2d.,  2nd  10£d., 
3rd  7d.  R.T.,  1st  Is.  9d.,  2nd 

Is.  4d.,  3rd  104d. 

From  L.S.  :  A.m.  7.58,  then 
everv  few  minutes  until  p.m., 
9.5,  9.20,  9.35,  9.50,  10.5,  10.20, 

10.35,  10.50,  11.5,  11.20,  11.35, 

11.50,  12.5,  12.35  midnight. 

Hoe  Street  to  L.S.  :  A.m.,  7.53, 

8.2,  8.8,  then  every  few  minutes  ; 
p.m.,  8.20,  8.35,  8.50,  9.6,  9.20, 

9.35,  9.49,  10.6,  10.20,  10.36, 

10.50,  11.6,  11.20,  11.35,  12.2. 
Film  :  Historial  Incidents. 

Type  :  One  reelers. 

Stage  :  One  a  fortnight. 

Baron  Films. 

Address:  95,  St.  Martin’s  Lane, 
W  C.2 


Bri  fish  Famous  Films. 

Address  :  “  Woodlands,”  High 

Road,  Whetstone. 

Phone  :  Finchley  1297. 

Studio  Vacant. 

Br  tish  and  Oriental. 

Address  :  B.  P.  Studios,  Thornton 
House,  Thornton  Road,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Studio  being  used  by  Quality  Films. 

Briti  h  Fhotoplays 

Address  :  Devon  Chambers,  28, 
Fleet  Street,  Torquay. 

Not  Working. 

British  Procuctions. 

Address  :  Selborne  Road,  Hove. 
Film:  Historial  Subjects. 
Director  :  Lieut.  Daring. 
Camermaan  :  A.  Kingston. 

British  Super  Films. 

Address  :  Worton  Hall,  Isleworth. 
Phone  :  Hounslow  212. 

Route  :  Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth. 
Fare  :  1st  Is.  Old.,  3rd  9d.  ; 
R.T.,  1st  Is.  9d.,  3rd  Is.  6d.  ; 

а. m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 
past  each  hour  until  11.51  p.m. 
Extra  trains,  4.43,  5.13,  5.43, 

б. 13,  6.43,  7.13. 

Isleworth  to  Waterloo  :  8.33, 

8.44,  9.3,  9-14,  9.33,  9.44,  10.14, 

10.44.  Same  minutes  past  every 

hour  until  10.44,  11.14  p.m. 

Extra  trains  5.30,  6.0,  6.30. 


Film  :  The  Right  to  Strike. 
Director  :  Fred  Paul. 

Cameraman  :  Sidney  Blythe. 

Stage  :  Completed. 

Film:  “The  Hotel  Mouse.” 

Stage  :  Scheduled. 

Daisy  Productions. 

Film:  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson 

Address  :  Lea  Bridge  Road,  E.  10. 
Phone  :  Walthamstow  634. 

Route  :  Bus  Nos.  35  and  38. 
Trams  81,  55,  57. 

G.E.R.  from  Liverpool  Street 
to  Lea  Bridge  Road.  Fares  : 
1st  Is.  2d.,  2nd  10Jd.,  3rd  7d. 
R.T.,  1st  Is.  9d.,  2nd  Is.  4d., 
3rd  104d.  A.m.,  10.34;  p.m., 

1.50,  3.5,  4.37,  6.27,  8.5. 

Lea  Bridge  to  Liverpool  Street : 
A.m.,  8.26  ;  p.m.,  1.4,  5.27,  5.54, 
6.29,  7.7,  8.4,  8.57,  10.4. 

Film  :  '*  Weavers  of  Fortune.” 
Director  :  Arthur  Rooke. 

Star  :  Henry  Vibart. 

Cameraman  :  Leslie  Eveliegh. 
Stage  :  Cutting  and  assembling. 

F.  P.-Lasky. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
and  then  tram  No.  11. 

Studio  being  used  bv  Grahame 
Cutts. 

Gaumont. 

Studio  :  L:me  Grove,  Shepherd’s 
Bush,  W.l 2. 

Phone  :  Hammersmith  2090-1-2. 


Route  :  Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station 
Studio  being  used  by  Edward  Jose. 

Film  :  “  The  Scientist.” 

Director  :  Capt.  Calvert. 

Stars  :  Marjorie  Hume  and  David 
Hawthorne. 

Cameraman  :  Basil  Emmott. 
Scenarist  :  Alicia  Ramsay. 

Stage  :  Cutting  and  assembling. 

Glen  Film  Productions. 

Address  :  20,  Lisle  Street,  WT.C. 
Studio  :  “  Belgrave,”  Marine 

Terrace,  Aberystwyth. 

Not  working. 

Ceorge  uiark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Phone  :  Museum  3012. 

Film  •  “  Maid  of  the  Silver  Sea.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Cameraman  :  Hal  Young. 

Stage  :  Eighth  week. 

Film  :  “  The  Starlit  Garden.” 

Stage  :  Starting  in  November. 

Grahame  Wilcox  Productions. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road. 

then  tram  No.  11. 

Film  :  “  Paddy  the  Next  Best 

Thing.” 

Director  :  Grahame  Cutts. 

Star  :  Mae  Marsh. 

Cameraman  :  Rene  Guessart. 
Scenarist  :  Elliot  Stannard. 

Stage  :  Fifth  week. 

Film  :  Not  announced. 

Director  :  Grahame  Cutts. 
Stage  :  Starting  shortly. 
Granger-Binger. 

Address  :  191,  Wardour  St.,  W.  1. 
Phone:  Gerrard  1081  and  1728. 
Studios  :  Haarlem,  Holland. 

Film  :  “  The  Lion’s  Mouse.” 
Director  :  Oscar  Apfel. 

Star  :  Wyndham  Standing. 

Stage  :  Cutting. 

Film  :  “  The  Hypocrites.” 

Star  :  Wyndham  Standing. 
Stage  :  Scheduled. 

Granville  Productions. 

Address  :  Windsor  Studios,  Brom 
ley  Road,  Catford. 

Phone  :  Lee  Green  948. 

Film  :  “  Hennessey  of  Moresby.” 
Stage  :  Starting  shortly. 

Hardy. 

Address:  13,  Gerrard  St.,  W.L 
Harma  Clarendon. 

Address:  16,  Limes  Road,  Croydon 
Phone  :  Croydon  921  and 2084. 

Not  working. 

Hepworth  Picture  Plays. 

Address:  Walton-on-Tbames. 
Phone  :  Walton  16. 

Route  :  From  Waterloo.  Fare  : 
1st  4s.  ll£d.,  3rd  2s.  6d.  ;  R.T., 
1st  7s.,  3rd  4s.  4£d. 


WE  CAN  DELIVER  FROM  STOCK 

The  Columbia  12  in.  by  2  in-  Silver-tipped 
Carbons  for  Wohl  and  other  Studio  Lamps. 

Recommended  by  Wohl's  as  the  only  suitable  Carbon 
for  their  Lamps. 

UNITED  KINGDOM  PHOTOPLAYS,  Ltd 

29a,  CHARING  CROSS  ROAD,  W.G.  2. 

’Phone  :  Gerrard  8742. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


(6 


’ Phone 


DEBRIE 


99 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W.  i 


36 


October  28,  1922 


THE  MOTION  PICTURE  STUDIO 


FULL  PARTICULARS  OF  CURRENT  PRODUCTIONS,  ROUTES 
AND  FARES  FOR  REACHING  THE  STUDIOS 


From  Waterloo :  A.m.,  7.0, 

8.0,  9.20,  10.20,  11.20;  p.m., 

12.20,  1.20.  2.20,  3.20,  4.20,  4.54, 
5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  8.20,  8.55,  9.20,  10.20, 
11.34. 

From  Walton  :  A.m.  7.59,  8.29, 
8.41.,  8.56,  9.9,  9.46,  10.10,  11.10. 
p.m.,  12,10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44,' 6.10,  7.10,  8.10,  9.10, 

10.10,  10.35,  11.34. 

Film  :  “  The  World  of  Wonderful 

Reality.” 

Director  :  Henry  Edwards. 

Stage  :  Completed. 

Film  :  “  Pipes  of  Pan.” 

Director  :  Cecil  Hepworth. 

Stage  :  Completed. 

Ideal 

Address  :  Boreham  Woods,  Elstree  > 
Herts. 

Phone  :  Elstree  52. 

Route  :  Trains  from  St.  Pancras. 
Fare  :  1st  2s.  lid.,  3rd  Is.  9Jd.  ; 
R.T.,  double  fare.  A.m.,  7.30, 
8.0,  8.50,  9.55,  10.45,  11.48; 
p.m.,  12.33,  1.13,  2.35,  3.55,  4.45, 
5.12,  6.2,  6.45,  6.50,  7.20,  8.8, 
9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras  : 
9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.3,  3.56,  4.56,  5.29,  6.18,  6.55, 
7.36,  8.54,  10.14,  11.3. 

Studio  Manager  :  F.  A.  Kendrick- 
Art  Director:  J.  T.  Garside. 

Film  :  Greensea  Island.” 
Director  :  Thomas  Bentley. 

Stars  :  Flora  Le  Breton  and  Clive 
Brook. 

Stage  :  Cutting  and  assembling. 

Film  :  “  This  Freedom.” 

Director  :  Denison  Clift. 

Star  :  .Fay  Compton. 

Scenarist  :  Denison  Clift. 

Stage  :  Preparing  Scenario. 

Film  :  “  Harbour  Lights.” 

Director  :  Tom  Terriss. 

Star  :  Tom  Moore. 

Cameraman  :  W.  Shenton. 

Stage  :  Seventh  week. 


Film  :  Not  titled. 
Director :  Frank  Crane. 
Stage  :  Starting  shortly. 

Film  :  “  Out  to  Win.” 
Director  :  Denison  Clift. 
Stage  :  Scheduled. 


Film  :  “  Mary  Queen  of  Scots.” 

Director  :  Denison  Clift. 

Stage  :  Scheduled. 

International  Artists. 

Address:  52,  Shaftesbury  Av.W.l. 

Phone  :  6338. 

Film  :  “  Call  of  the  Fast.” 

Director  :  Bert  Wynne. 

Stars  :  Doris  Eaton,  Walter  Tenny¬ 
son  and  Warwick  Warcle. 

Cameraman  :  W.  Howse. 

Stage  :  Completed. 

Film  :  “  God’s  Prodigal.” 

Star  :  Donald  Crisp. 

Cameraman  :  C.  McDowell. 

Isle  of  Man  Films. 

Address  :  The  Manx  Studios, 
Isle  of  Man. 

Not  working. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington, 

Phone  :  Kingston  1617. 

Route  :  From  Waterloo  to  Tedding¬ 
ton,  Fare  :  1st  2s.  74d.,  3rd 
Is.  4d.  ;  R.T.,  1st  4s.  4|d.,  3rd 
2s.  8d.  From  Waterloo,  a.m., 
7.55.  Then  trains  every  few 
minutes  until  11.55  p.m.  From 
Teddington,  a.m.,  7.51.  Then 

trains  everv  few  minutes  until 
11.1,  11. 16, 'll. 51  p.m.  Bus  27. 


Film  :  “  The  Green  Caravan.” 
Director  :  E.  J.  Collins. 

Star  :  Catherine  Calvert. 
Cameraman  :  Theodore  Thumwood. 
Stage  :  Fifth  week. 

Minerva  Films. 

Address  :  110,  Victoria  St.,  S.W.l. 
Phone  :  Victoria  7545. 

Not  working. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 
Phone  :  Shoreham  19. 

Film:  “Facing  Fearful  Odds.” 
Director  :  Wilfred  Noy. 

Star  :  Mavis  Clare. 

Cameraman  :  Stanley  Mumford. 
Stage  :  Eighth  week. 

Quality  Films. 

Address  :.  B.  P.  Studios,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Film  :  One  reelers. 

Director  :  George  A  Cooper. 
Stars  :  Sydney  Folker  and  Joan 
McLean. 


Studio  Manager  :  S.  Folker 
Cameraman  :  R.  Terreaneau. 
Stage  :  One  a  week. 

Raleigh  King  Productions. 

Address  :  Watcombe  Hall,  Tor¬ 
quay. 

Studio  :  Vacant. 

Regulus  Films. 

Address  :  48,  Carnaby  Street, 

Regent  Street,  W.l. 

Not  working. 

Seal  Productions. 

Address:  171,  Wardour  Street. 
Phone  :  Regent.  4329. 

Not  working. 

Screenplays. 

Address  :  Cranmer  Court,  Clapham 
Phone  :  Brixton  2956. 

Route  :  Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll. 

Address  :  Temple  Road,  Crickle. 
wood. 

Phone  :  Willesden  3293. 

Route  :  Bus  No.  16. 

Studio  Manager  :  J.  Grossman 
Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart 
Rome  and  Edith  Bishop. 
Cameraman  :  D.  P.  Cooper. 

Stage  :  Thirteenth  week. 


Film  :  “  Petticoat  Loose.” 
Director  :  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  Lionelle 
Howard. 

Stage  :  Completed. 

Film:  “Top  of  the  World.” 
Director  :  Maurice  Elvey. 

Stage  :  Scheduled. 


Film  :  “  Open  Country.” 

Director  :  Sinclair  Hill. 

Stage  :  Casting. 

Film  :  “  Sherlock  Holmes.” 
Director  :  George  Ridgwell. 

Star  :  Eille  Norwood. 

Cameraman  :  A1  Moise. 

Stage  :  Starting  shortly. 

Film  :  “  The  Sign  of  Four.” 
Director  :  Maurice  Elvey. 

Stage  :  Scheduled. 

J.  Stuart  Blackton. 

Address  :  Bush  House,  Alawvch. 
Phone  :  Central  1935. 


Film  :  “  The  Virgin  Queen.” 

Director  :  J.  Stuart  Blackton. 
Star  :  Lady  Diana  Manners. 
Cameraman  :  Nicholas  Musurca. 
Stage  :  Starting  this  month. 

Torquay  &  Paignton  Photoplays 

Address  :  Public  Hall,  Paignton 
Not  working. 

Union  Films. 

Address  :  Strand  Street,  Liverpoo  1 
Phone  :  Central  (Liverpool)  325 
Not  working. 

Walker  Boyd  Sunshine  Produc¬ 
tions. 

Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. 

Address  :  Princes  Studios,  Kew 
Bridge, 

Phone  :  Chiswick  574. 

Route  :  Bus  Nos.  27,  105. 

Broad  Street  to  Kew.  Fare  : 
1st  Is.  4d.,  3rd  9d.,  RT.,  1st 
2s.  0£d.,  3rd  Is.  4d.  A.m.,  8.2, 

8.20,  8.45,  9.0,  9.47,  10.17,  10.47, 

11.17,  11.47  ;  p.m.,  12.17,  12.47, 

1.17,  1.47,  2.17,  2.47,  3.17,  3.47, 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40, 
6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 
8.47,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street  : 
A.m.,  9.40,  10.8,  10.38,  11.8, 
11.38;  p.m.,  12.8,  12.38,  1.8. 

1.38,  2.8,  2.3S,  3.8,  3.38,  4.8,  1.38 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20’ 

6.38,  7.8,  7.38,  8.8,  8.38,  9.8,  9.38’ 
Film  :  “  The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Florence  Turner,  Kathleen 
Vaughan,  Norah  Swinburne, ’Fred 
Wright,  and  James  Knight. 
Stage  :  Sixth  week. 

Welsh  Pearson. 

Address  :  41-45,  Craven  Park, 
Harlesden,  N.W.  10. 

Phone  :  Willesden  2862. 

Route:  Bus  No.  IS. 

Film:  “The  Romany.” 

Star  :  Victor  McLaglen. 
Director:  Martin  Thornton. 
Cameraman  :  Percy  Strong. 

Stage  :  Tenth  week. 

Zodiac.  K 

Studio  :  Kingsbury  Studios. 

Film  :  Walter  Forde  Comedy. 

Stage  :  Scheduled. 


-  Phone  - 

Recem  5253 


Ck  b!es&  Creams 

AMFCOLO,  LONDON 


Quality  &  Service 

100%  FILM  100% 

Developers  &  Printers 


.  j  * 


89-91 
WARDOUR  ST 


LONDON, 

W.  I  . 


THE  MOTION  PICTURE  STUDIO 


October  28,  1922 


Where  and 

what 

PLAYERS’  MOVEMENTS 

Frank  Millar  has  been  directing  for  Punch 
Films. 

Hugh  Miller  has  been  playing  for  Quality 
in  “The  Letters.” 

Madge  Stuart  has  been  playing  for  Quality 
in  “The  Letters.” 

Frank  Stanmore  has  been  working  for 
Punch  Films. 

George  Dewhurst  is  to  direct  a  number  of 
new  comedy  subjects. 

Arthur  Rooke  is  cutting  “Weavers  of 
Fortune  ”  for  Davidson. 

Henry  Vibart  has  finished  his  part  as  star 
in  “Weavers  of  Fortune.” 

Fred  Paul  is  directing  “The  Hotel 
Mouse  ”  for  British  Supers. 

Ernest  Spalding  has  been  playing  for 
Stoll  in  “The  Prodigal  Son.” 

Frank  Zeitlin  is  moving  into  offices  at  26 
and  32,  Shaftesbury  Avenue. 

Freda  Kaye  has  been  playing  in  “The 
Smith  Family  ”  at  the  Empire. 

Walter  G.  Summers  is  busy  on  the  scenario 
of  a  new  production  for  British  Supers. 

Myrtle  Vibart  has  completed  her  contract 
with  Davidson  in  “Weavers  of  Fortune.” 

Roy  Byford  has  been  appearing  in  one  of 
the  leading  roles  in  some  of  the  new  Punch 
comedies. 

Wvndham  Standing  returns  to  Holland 
shortly  to  play  in  “The  Hypocrites”  for 
Hollandia. 

Miriam  Murray  has  been  playing  in 
“Paddy  the  Next  Best  Thing”  for  Grahame 
Wilcox. 

Fred  Le  Rov  Granville  is  shortly  starting 
work  upon  a  new  subject  called  “Hennessey 
of  Moresby.  ” 

Dorinea  Shirley  is  away  at  Torquay  on 
location  in  the  new  Stoll  film  “  Open 
Country  ”  (Zeitlin’s  booking). 

Gordon  Hopkirk  has  been  playing  the  part 
of  Sir  Antony  Foster  in  the  Amy  Robsart 
film  for  B.  and  C. 

Rosina  Wright  is  playing  the  part  of 
Phillipa  Percival  in  Sinclair  Hill’s  next 
Stoll  production  “Open  Country.” 

Frank  B.  Gray  is  back  from  Blackpool 
where  he  has  been  playing  one  of  the  lead¬ 
ing  parts  in  the  revue  at  the  Pavilion.  He 
is  now  disengaged. 

Warwick  Ward  has  completed  his  contract 
with  Stoll  in  “Petticoat  Loose,”  and  is  now 
appearing  as  Don  Esaban  in  “The  Hotel 
Mouse  ”  for  British  Supers. 


Communications  for  Adver¬ 
tisers  and  others  mentioned  in 
this  issue  can  be  addressed  care 
of  the  Editor  of  The  Motion 
Picture  Studio,  93,  Long  Acre, 
London,  W.C.2,  England,  who 
undertakes  to  re-direct  them. 


ACCORDING 
TO  PEGGY 


Vl/TIERE  shall  we  make  our  pictures? 

~  ’  That  is  a  great  question  to-day. 

And  the  answer  is  :  Make  some  in  Eng¬ 
land,  some  in  America,  or  Africa,  or 
Australia;  in  fact,  just  make  them  any¬ 
where  in  the  world — as  long  as  they  are 
good  pictures  ! 

1  see  both  American  and  English  pictures 
I  love,  and  then  along  comes  a  simple 
little  film  made  in  the  Eskimo  country, 
with  a  great  charm  and  appeal  all  its 
own  1  So,  after  all,  it  is  the  fact  that 
they  are  good  pictures  that  counts,  not 
wnere  they  are  made  or  even  the  subject 
as  long  as  they  are  good  and  wholesome 
entertainment. 

There  are,  of  course,  certain  accessories 
necessary  to  the  making  and — of  great 
importance — the  exploitation  of  good  and 
successful  pictures  to-dav  ;  for  in  the  end 
the  amount  of  money  a  film  brings  in  is 
the  only  true  answer  to  the  success  or 
failure  of  a  production,  and  however 
good  a  film  is  it  must  be  well  handled  to 
do  any  good. 

What  is  the  use  of  having  a  beautiful 
horse  in  a  stable?  Bring  him  out  in  the 
park,  trot  him  round,  show  him  off  to 
the  best  advantage,  and  let  everyone 
knowr  that  he  is  a  fine  high  stepper,  and 
that  he  is  yours  ! 

Therefore,  make  a  little  more  noise  about 
your  films,  tell  the  people  about  them — 
thev  like  to  read  all  you  nave  to  say. 

Publicity,  of  the  right  kind,  is  most 
essential  to  success  in  the  picture  In¬ 
dustry,  therefore,  make  use  of  one  of 
the  most  wonderful  arts  of  to-day,  the 
art  of  Advertising. 

Pictures,  to  my  mind,  are  of  the  world, 
and  for  the  world — the  word  insular 
j  doesn’t  fit  them  at  all. 

P.  Hyland. 


London,  Paris  &  New  York 

see  back  cover. 


CLUB  CLATTER 

by  CLATTER  BOX 

/  \NCE  upon  a  time  there  was  a  pumpkin 
— the  property  of  Muriel  Alleyne.  It 
was  inscribed  with  the  wording:  “To  the 
Kinema  Club  with  Best  Wishes.”  It  was 
then  allowed  to  grow.  As  time  went  by  the 
pumpkin  grew,  according  to  plan,  and  the 
other  week  was  presented  to  the  Club.  The 
members  will  no  doubt  remembef  the  ex¬ 
cellent  pumpkin  pie  it  made. 


There  were  one  or  two  additions  to  the 
hand  at  last  Saturday  night’s  dance.  J.  H. 
'Maitt  took  over  the  drums  for  one  half  of 
the  evening,  and  Donald  Searle  relieved  him 
of  that  responsibility  for  the  other  half. 
Searle,  by  the  way,  was  successful  in 
frustrating  a  dastardly  plot,  which  the  other 
members  of  the  band  had  hatched.  It 
seems  that  things  were  going  along  merrily, 
and  Searle  was  just  beginning  to  like  his 
new  job,  when  suddenly  the  band  stopped — 
that  is,  all  the  band  except  Searle,  who  still 
continued  to  play.  The  attempt  to  “dry 
him  up,”  however,  proved  unsuccessful. 


A  special  meeting  of  the  Executive 
Council  of  the  Kinema  Club  was  held 
last  Friday,  at  which  the  previous  reso¬ 
lution  of  the  Council,  to  the  effeot  that 
The  Motion  Picture  Studio  was  not  to 
be  recognised  as  the  official  organ  of 
the  Club,  was  rescinded.  At  the  cordial 
invitation  of  the  Council,  Frank  A. 
Tilley  (vice-chairman)  and  Ernest  G. 
Allighan  (late  hon.  secretary)  con¬ 
sented  to  withdraw  their  resignations 
from  office. 


On  October  29  we  are  to  have  the  first 
House  Dinner,  and  this  function  will  then 
take  place  once  every  month  throughout  the 
year.  George  Ridgwell  will  be  in  the  chair. 
Members  should  get  their  tickets  now,  for 
there  is  certain  to  be  a  rush  on  them,  and 
the  late-comers  will  be  the  unlucky  ones. 


Possibly  one  of  the  most  profitable  sec¬ 
tions  of  the  Club  is  the  bar,  which  always 
seems  to  be  doing  good  business.  Com¬ 
plaints  have  been  made  about  some  of  the 
drink  being  served  there,  and  some  time  ago 
the  complaints  were  justifiable.  Recently, 
however,  a  new  and  better  stock  has  been 
bought  in,  and  prices  have  been  reduced, 
so  that  there  is  little  to  grumble  at  now. 
The  Club  bar,  in  fact,  would  be  hard  to 
beat  for  civility  and  cleanliness. 


On  Saturday  evening  the  usual  dance  will 
take  place  and  the  Kine- Copaters  will  be 
in  attendance  with  its  two  additions — Searle 
and  Maitt. 


A  special  meeting  has  been  called  for 
November  19  to  consider  a  proposition  for 
the  revision  of  Rule  III.  (a)  so  that  an  addi¬ 
tion  will  be  made  of  “  Exhibitors,  renters  and 
their  respective  departmental  managers,” 
such  words  to  be  inserted  after  the  words 
“  producing  organisation.”  Rule  VIII.  so 
that  it  will  read  “  Subscription  of  country 
members  residing  outside  the  home  counties 
be  £3  3s.”  Rule  XII.  (3)  have  the  addition 
of  “  Except  with  permission  of  the 
manager,”  to  come  after  the  word  “  week.” 
As  the  revision  of  these  rules  may  have  very 
far-reaching  effects,  it  is  certain  that  mem¬ 
bers  will  make  a  big  effort  to  be  present  at 
the  meeting. 


38 


October  28,  1922 


Supplement  to  THE  MOTION  PICTURE  STUDIO 


SPECIAL  TORQUAY  SUPPLEMENT. 

TOPOTT  A  V  THE  British 

lUJxyUal  LOS  ANGELES 


TORQUAY'S 

PALACE  HOTEL 

The  largest,  newest,  and  most  palatial 
licensed  Hotel  in  the  BRITISH  RIVIERA 


Accommodation  for  140  Guests  Cuisine  Service  and 

Wines  of  the  highest  order 

Stands  in  25  acres  beautiful  Gardens  and  Woodland  Scenery 
Due  South  and  facing  the  Sea  at  Ansteys  Cove 

Garage  50  Cars  Orchestra  Tennis  and  Bowls 

-PHONE  971  — 

SEND  FOR  ILLUSTRATED  BOOKLET 

F.  MONTAGUE  HAYDEN, 

Manager 


1 


Supplement  to  THE  MOTION  PICTURE  STUDIO 


October  28,  1922 


LOS  ANGELES,  DEVON 

Torquay  as  the  centre  for  British  film  producing  activities 


ONE  of  the  libels  that  have  been  directed 
at  this  country  is  the  assertion  that 
our  national  climate  is  so  wretched  that  it 
is  only  possible  to  take  pictures  during 
two  or  three  months  of  the  year.  Apart 
altogether  from  the  fact  that  the  tendency 
in  film  production  both  sides  of  the  Atlantic 
is  to  erect  exteriors  in  the  studio  whenever 
at  all  possible,  it  should  be  recorded 
( ..fiieially  that  it  is  possible  to  shoot  ex- 
ttiiors,  in  ideal  surroundings  and  circum¬ 
stances,  m  the  “  British  Los  Apgeles  ”  for 
at  least  nine  months  of  the  year. 

So  perfect  are  the  producing  conditions 
that  obtain  in  the  Torquay  district  that,  it 
lias  come  to  be  known  as  the  “  British 
Los  Angeles.”  And  the  name  is  well 
merited.  It  is  situated  in  the  south-west 
corner  of  England,  in  the  county  of  Devon, 
which  adjoins  Cornwall.  So  warm  is  it 
that  tropical  plants  grow  in  great  pro¬ 
fusion,  and  the  hours  of  sunshine  easily 
create  a  record  for  the  country. 

The  average  number  of  hours  of  bright 
sunshine  is  1,798  per  annum ;  last  year  the 
figure  was  2,013.  What  is  of  particular  im¬ 
portance  is  the  fact  that  .bright  sunshine 
in  Torquay  is  easily  greater  in  the  winter 
months  than  in  any  other  part  of  the 
country.  During  October-December,  347.5 
hours  were  recorded,  and  from  January  to 
March  309.2  hours.  While  Torquay  had  a 
mean  of  three  hours’  sunshine  per  day 
during  the  dullest  part  of  the  year,  Buxton 
only  had  half  that  amount.  During  Novem¬ 
ber,  last  year,  when  most  of  the  country 
was  fog-bound  for  several  days,  Torquay 
was  not  only  free  from  fog,  but  enjoyed 
many  hours  of  bright  sunshine  ! 

As  a  matter  of  meteorological  fact,  fog 
is  an  exceedingly  rare  visitor,  and  only  on 


one  occasion  was  it  of  such  density  as  to 
obscure  objects  beyond  a  range  of  550  yards. 

The  official  report  of  Torquay’s  climate 
is:  “Equability  of  climate,  both  in  summer 
and  winter;  abundance  of  sunshine, 
especially  during  the  winter  months ;  an 
abnormally  large  proportion  of  invigorating 
ozone,  averaging  more  than  50  per  cent,  of 
the  possible;  a  high  mean  or  warm  tem¬ 
perature  in  the  winter,  and  a  low  mean  or 
cool  temperature  in  the  summer;  protec¬ 
tion  from  north  apd  east  winds  by  the  sur¬ 
rounding  hills — these  are  the  most  notable 
characteristics  of  Torquay’s  climate.” 

Further  than  that,  the  actinic  value  of  the 
atmosphere  of  the  West  Country  is  as  ideal 
for  producing  purposes  as  California. 
“  Where  the  Rainbow  Ends,”  which  Lisle 
Lucoque  made,  was  one  of  last  year’s  out- 
sanding  successes,  and  obtained  a  Special 
Royal  Command  Performance.  This  film,  was 
made  in  Torquay  during  the  winter  months, 
and  most  of  it  is  exteriors. 

The  rainfall  in  the  district  is  propor¬ 
tionately  low.  Last  year  the  measurement 
was  20.8  inches.  It  is  exceptional  to  have 
rainfall  for  the  whole  of  any  day,  and 
even  unsettled  weather,  if  wet  in  the 
morning,  clears  at  noon ;  if  bright  in  the 
morning  and  rainy  in  the  afternoon,  it 
invariably  clears  by  seven,  and  a  fine,  bright 
evening  prevails. 

Frost  is  such  a  stranger  to  the  town 
that  luxuriant  growths  of  various  tropical 
plants  and  shrubs  are  a  feature  of  the 
district. 

This,  by  the  way,  is  one  of  the  valuable 
assets  of  the  district  as  a  film-producing 
centre  :  there  is  in  the  compass  of  the 
district  an  unexampled  variety  of  every 
sort  of  natural  settings  imaginable,  Mae 


Marsh  states  that,  in  her  opinion,  every 
sort  of  film  could  be  made  here,  from  a 
South  Sea  Island  romance  to  a  Wild  West 
adventure.  Cliffs,  valleys,  ravines,  terraces 
and  tropical  plantations,  rivers,  falls,  and 
every  conceivable  variation  of  these  natural 
beauties.  Tom  Terriss,  who  is  directing 
“  Harbour  Lights,”  has  been  on  location  in 
the  West  Country,  and  says  that  there  is 
no  finer  light  in  the  world  for  film  pur¬ 
poses.  Mr.  Terriss  was  recently  one  of  the 
foremost  directors  in  America,  and  speaKs 
with  authority. 

There  is  an  exceptionally  good  rail 
service  to  Torquay;  the  Great  Western  line 
does  the  journey  in  about  three  hours. 
In  the  town  itself  is  a  fine  group  of  hotels, 
with  the  Torquay  Palace  Hotel  as  the 
premier. 

Already  one  or  two  films  have  been  made 
hr  the  district,  the  most  recent  being 
“  Paddy  the  Next  Best  Thing,”  in  wdiicli 
Mae  Marsh  stars.  And  about  ten  minutes 
out  of  the  town  is  an  ideal  studio  property 
I  known  as  Watcombe  Hall,  with  extensive 
grounds. 

Watcombe  Hall  is  a  noble  and  picturesque 
residence  commanding  the  most  exqrrisite 
views  of  the  sea,  Watcombe  Downs  and 
Beach.  The  gardens  are  of  great  beauty 
and  extent  in  a  series  of  lovely  terraces  and 
sloping  lawns  through  the  park-like  grounds 
planted  with  rare  old  trees  and  shrubs  down 
to  a  pretty  and  secluded  beach. 

Bounded  on  the  one  side  by  the  famous 
“  Giant  Rocks  ”  and  a  wealth  of  woodland 
on  the  other,  this  beautiful  spot  affords  a 
wondrous  and  unique  setting  for  kinemato- 
graphy  that  cannot  be  surpassed.  The 
Watcombe  Estate  is  about  five  acres  in 
extent,  also  having  rights  over  the  adjoin- 


THE  IMPERIAL  HOTEL 

TORQUAY 

Adjoins  the  Medical  and  Electrical  Baths, 


TOROUAY'S  PREMIER  AND 
MOST  POPULAR  HOTEL. 

• — PATRONISED  BY  ROYALTY. — 


CHAS.  W.  HORE,  Manager. 
TELEGRAMS  :  “  IMPERIAL,  TORQUAY.” 
TELEPHONE  NOS.  80  AND  55 7. 

Visitors  are  advised  to  book  early  to  secure  accommodation. 


The  Ideal  Residence 
of  the  Premier  Eng¬ 
lish  Resort  for  those 
precluded  from 
Travelling  abroad. 

Officially  appointed 
by  the  A. A. A.  and 
R.A.C.  Orchestra. 
Latest  Fire  Appli¬ 
ances.  Perfect  Cui¬ 
sine.  Choice  Wines. 
Moderate  Tariff. 

Tennis  Courts  (Hard 
and  Grass  Courts). 
Electric  Light  and  Pass¬ 
enger  Lift.  Private 
Bathing  Coves  (Ladies 
::  and  Gentlemen).  :: 


STANDING  in  its 
own  Beautiful 
Grounds,  which 
reach  the  Sea. 
Facing  due  South. 
Completely  sheltered 
from  the  North  and 
East  winds.  Away 
from  all  noise  and 
traffic. 

Re-decorated  and  re¬ 
furnished,  including 
self-  contained  Bath¬ 
room  Suites.  Also  re¬ 
constructed  Garage.  All 
modern  equipments, 
including  Chauffeur’s 
Workshop,  Inspection 
Pit,  and  Accumulator 
Charging  conveniences, 
with  a  Mechanic  in 
::  attendance.  :: 


ll 


October  28,  1922 


Supplement  to  THE  MOTION  PICTURE  STUDIO 


ing  common.  Crystallised  in  a  very  small 
radius  with  Watcombe  Hall  as  a  centre  can 
be  found  almost  every  variety  of  scenery 
possible.  Rugged  cliffs  and  mountain 
scenery,  moorland  streams  and  rivers, 
charming  old  world  villages,  historic  ruins 
and  noble  mansions.  Aided  by  a  perfect 
climate,  this  unrivalled  centre  of  natural 
beauty  and  historic  associations  combine 
lo  make  a  setting  pre-eminently  suitable  for 
first-class  kinematography. 

The  studio  is  constructed  of  steel  latticed 
girders  on  a  concrete  and  wood  inlaid  floor, 
and  measures  100  ft.  by  61  ft.,  one-half 
being  glazed  throughout  for  daylight  work 
and  the  other  half  for  use  by  artificial 
light.  The  daylight  portion  having  a  clear 
floor  space  61  ft.  by  50  ft.,  and  the  other 
60  ft.  by  50  ft.,  the  remaining  space  being 
occupied  by  the  property  room  and  a  suite 
of  dressing-rooms  (on  two  floors). 

The  lighting  arrangements  include  four 
banks  of  six  tubes  Cooper  Hewett  lamps, 
two  boxes  of  three  tubes  ditto,  three 
standards  of  two  tubes  ditto,  ten  West¬ 
minster  arcs  (standards),  and  a  complete 
installation  of  switch-boards,  rectifier, 
resistances,  etc.,  the  power  being  derived 
from  the  Torquay  Corporation  Electric 
Works,  from  which  a  special  cable  lias  been 
laid  at  a  cost  of  £2,000. 

Three  sets  of  roller  doors,  two  of  25  ft.  in 
width  and  one  of  11  ft.  6  in.,  open  direct  on 
the  beautiful  garden,  which  can  thus  be 
incorporated  with  the  studio  for  scenic 
effects. 

There  is  a  good  supply  of  appropriate 
furniture  and  a  large  quantity  of  new  and 
artistic  scenery. 

The  residential  portion  of  Watcombe  Hall 
is  of  a  character  rendering  it  specially  suit¬ 
able  for  interior  scenes.  A  portion  of  the 
original  dwelling  has  been  adapted  for  busi¬ 
ness  purposes  and  includes  projecting 
theatre  with  external  operating  box,  screen, 
Gaumont  projector,  etc.,  waiting  room,  outer 
office  with  pay  desks,  inner  office,  fully 
equipped  factory  covering  an  area  of 
514  square  feet  and  including  developing 
and  printing  room,  washing  room  and  drying- 
room,  fitted  with  the  most  modern  tanks 
and  drums  and  heated  by  liot-water 
radiator,  cutting  room  fully  equipped, 
strong  room,  artistes’  dining  room 
approached  by  external  staircase  from  the 
studio,  and  three  store  rooms. 

The  existence  of  Torquay  for  ever  dis¬ 
proves  the  assertion  that  England  is  handi¬ 
capped  by  climatic  and  atmospheric 
conditions  and  by  limitation  of  natural 
settings.  The  day  is  coming  when  Torquay 
will  be  the  centre  of  England’s  producing 
activities — studioland  will  shift  from  the 
Metropolis,  which  is  within  the  fog-belt,  and 
migrate  to  the  West  Country  where  condi¬ 
tions  are  favourable  as  in  California. 

H.  E.  G.  A. 

SHOWING  THE  WAY 

TJNDER  the  management  of  H.  B. 

Parkinson  the  Master  Film  Co.,  of 
Teddington,  London,  lias  during  the  last  few 
years  been  forging  rapidly  ahead  and  has 
shown  the  way  not  only  to  English,  but  also 
to  American  producing  concerns.  A  year  or 
so  back  Masters  introduced  the  short  feature 
programs,  which  since  that  time  have  become 
extremely  popular  with  picture  fans. 
“Tense  Moments  With  Great  Authors”  was 
the  title  of  the  first  series,  which  was  com¬ 
posed  of  twelve  of  the  most  important 
incidents  from  famous  books.  Later,  and 
along  the  same  lines,  came  a  series  of  twelve 
“Tense  Moments  from  Great  Operas,”  a 
series  of  six  one-reelers  in  which  the 
English  actress  Sybil  Thorndike  was 
featured,  a  series  of  one  and  two-reel  sport¬ 
ing  subjects  dealing  with  every  phase  of 
sport,  and  twelve  one-reel  screen  versions 
ol  George  R.  Sims  poems. 

The  Los  Angeles  motion  picture  paper 
Camera/  recently  in  a  leading  article  com¬ 
mented  upon  these  Master  Film  short  i 
subjects.  According  to  this  article,  the 
Master  Film  Co.  had  proved  as  a  result  ; 
ot  the  success  of  these  subjects  the  taste  of  5 
the  picturegoing  public.  The  latest  series 
?*  sporting  dramas  lias  been  sold  to  the  j 
Walturdaw  Co. 


A  COMPOSITE  OF  ATTRACTION 

by  FELIX  ORMAN 

QNE  might  almost  feel  that  the  Almighty  had  film  locations  in  mind  when  He  created 
Torquay.  Such  vistas  of  hills,  rocks,  foiests,  wooded  dells,  yawning  clefts  in  the 
rugged  coast,  deep,  shady  coves,  inspiiing  views  of  the  sea  and  cool  blue  inlets — all  seem  to 
cry  out  for  the  camera  to  carry  their  message  of  beauty  to  the  world,  to  preach  the  gospel 
of  nature,  to  paint  for  mankind  the  glories  of  this  divine  handiwork  as  only  the  kine- 
matograph  can.  Even  the  commonest  of  us  mortals  feel  something  of  the  compelling 
spiritual  power  of  beautiful  natural  scenery,  and  during  my  fortnight’s  stay  at  Torquay 
I  was  frequently  deeply  impressed  with  the  splendour  of  the  beauty  of  the  place  and  its 
environs. 

Torquay  is  remarkable  for  the  variety  of  its  scenery.  Here  is  not  merely  flat  seashore, 
or  hills,  or  undulating  countryside.  This  Devonshire  paradise  is  a  composite  of  all  kinds  of 
nature’s  attractions.  Great  rocky  cliffs  penetrate  at  queer,  unexpected  angles  into  the  sea 
looming  above  mysterious  and  strangely  fascinating  recesses,  thick  with  luxuriant  foliage 
and  odd  rocky  formations.  Here  and  there  are  strips  of  white  sand  along  the  seashore,  like, 
bands  of  silky  ribbons,  with  above  walls  of  bright  red  sandstone,  almost  too  beautiful  and 
vivid  to  seem  real.  Built  on  seven  hills  like  Rome,  Torquay  offers  no  end  of  exquisite  vistas 
wherever  one  turns. 

And  the  surrounding  country  !  Here  is  everything  for  the  kinematographer.  Motoring 
along  the  quiet  Devonshire  roads,  the  tourist  sees  miles  of  gently  rolling  countiy,  as  green 
and  smooth  as  any  velvet  carpet,  with  trees,  shrubs  and  wild  flowers  completing  pictures 
thrilling  to  the  natuie-lovei .  There  are  quaint  villages,  old  by-ways,  cosy  farms  that  seem 
to  beckon  to  the  passer-by  with  the  message,  “  Here  dwells  peace  ”  ;  woodlands,  brooks  that 
ripple  along,  sparkling  in  the  sunlight.  And  everywhere  are  landmarks  and  associations  that 
eloquently  tell  of  the  past. 

Not  far  from  Torquay  is  the  majestic  Daitmoor  forest,  the  River  Dart  the  “  Rhine  of 
England,”  every  mile  of  it  a  feast  for  the  eye  ;  and  numerous  other  places  that  bold  the 
visitor  emaptured.  Torquay  answeis  many  of  the  hopes  of  the  cameraman  seeking  the 
beauty  spots  of  England. 


MADE  IN  WINTER 


From  ‘  Where  the  Rainbow  Ends  ”  which  was  made  in  Torquay  district  in  winter  time. 


iii 


Supplement  to  THE  MOTION  PICTURE  STUDIO 


October  28,  1922 


Scene  Locations  include  : — London,  Manchester,  Liverpool,  Southampton,  Isle  of  Wight,  and  Italian  Riviera. 


DIRECTION: 


BERT  WYNNE. 

AMERICAN  RIGHTS 
FOR  DISPOSAL. 


British  Rights  Sold  before 
completion  of  Film. 


All  communications  : 

BERT  WYNNE, 
International  Artists  Film  Co. 

52,  Shaftesbury  Avenue, 
LONDON,  ENGLAND. 


SEAL  FILM  CO. 

PRESENT 

TWO  ALL-BRITISH  FILMS 

featuring 

The  Wonderful  Child  Actress 


TWO  HUMAN  STORIES  OF  LONDON  SLUM  LIFE  THAT  WILL  APPEAL  TO  ALL. 


JOAN 

GRIFFITH 


Supported  by 

WARWICK  WARD  &  ZOE  PALMER 

(The  Favourite  British  Screen  Stars) 
in 

“JESSICA’S  FIRST  PRAYER” 

AND 

“LITTLE  MEG’S  CHILDREN” 

From  the  Stories  by  HESBA  STRET TON. 


"The  Town  of  Crooked  Ways”  (  Moll)  is  technically  excellent,  and  contains  some  very  fine  characterisation.  The  one  fault  is  that 
the  novel  has  been  literally  transcribed  and  not  interpreted  into  a  screen  continuity.  There  is  a  lot  of  detail  and  the  scenario  follows  the 
story,  but  not  in  a  sereen  sense.  However,  the  production  is  deserving  of  the  highest  praise,  and  the  film  affords  good  entei  tiinment. 
Given  a  good  scenario  there  is  no  doubt  that  the  same  producer  could  make  a  film  which  would  equal,  if  not  surpass,  the  best  that 
America,  or,  for  the  matter  of  that,  any  other  country  can  give  us.”  Kine  Weekly. 


IV 


October  28  1922 


THE  MOTION  PICTURE  STUDIO 


now  directing 

O 

“THE  HARBOUR  LIGHTS” 

The  Famous  Adelphi 
Melodrama  Success 


FEATURING  -  -  TOM  MOORE 

ADDRESS: 


Hotel  Cecil,  LONDON 


39 


The  Motion  Picture  Studio,  October  28,  1922. 


Registered  at  Hie  G.P.O. 
as  a  Newspaper 


LICENSED  BY  THE  L.C  C. 


Telephone:  REGENT  6696. 

Telegrams:  Zeitinema.  Piccy.  London. 
Cables:  ZEITINEMA.  LONDON 


BOOKING  AGENT 
FOR  FILM  Qi  STAGE. 


Manager : 

D  BOODSON 


AN  APPRECIATION. 

I  wish  to  convey  through  the  medium  of  this  Journal, 
my  gratitude  and  thanks  to  the  Producers,  Directors,  and 
Artistes,  I  had  the  pleasure  of  coming  into  personal  contact 
with  during  my  visit  to  America. 

It  is  my  earnest  desire  to  further  the  spirit  of  good  will 
and  friendship  between  the  film  industries  of  America  and 
England,  and  I  feel  sure  that  closer  co-operation  in  the 
future  between  England  and  America,  will  be  greatly  to 
our  mutual  advantage. 

The  medium  for  cementing  this  good  feeling  would  be, 
in  my  opinion,  through  an  interchange  of  artistes 
between  the  two  Countries,  and  I  shall  be  only  too  happy 
to  do  what  lies  in  my  power  to  further  this  interest.  I 
would  especially  like  to  thank  Mr.  Marcus  Loew,  Mr.  Eddie 
Small,  Mr.  Edmund  Moulding,  and  Mr.  G-errit  J.  Lloyd,  for  their 
great  personal  kindness,  hospitality,  and  interest  in  my 
business  during  my  short,  but  delightful,  stay  in  New  York. 

S  incerely. 


Printed  and  Published  by  ODHAMS  PRESS  Ltd.,  Long  Acre, October  28,  1922. 


A  Triumph  for  England. 

The  highest  paid  scenarist 
::  in  the  world  is  an  :: 

ENGLISHMAN. 

EDMUND  GOULDING 

who  arrives  in  this  country  shortly, 

::  is  solely  represented  by 

FRANK  ZEITLIN 

to  whom  all  communications 
::  should  be  addressed.  :: 

Edmund  Goulding  and  all  the  BIG  personalities  in  the 
World’s  Film  Industry  entrust  their  business  to  ME. 

“  Verb,  sap." 

NOTE  NEW  ADDRESS: 

26^32,  Shaftesbury  Avenue,  W.l, 

Telegrams:  “Zeitinema,  Piccy,  London.”  'Phone:  Regent  6696. 


THE  MOTION  PICTURE  STUDIJ 


November  ii,  1922 


ARTISTES 


ATHALIE  DAVIS 

Juvenile  Leads. 
Comedy  &  Emotional  Parts. 

Latest  Film  : 

“Hims  Ancient  and  Modern.” 

“The  Last  100  Yards.” 
Corns.  :  70,  Goldhurst  Ter¬ 
race,  Hampstead,  N.W.6. 
'Phone  :  Hampstead  4200. 


NOEL  GRAHAME 

Heavy  Character  &  Comedy. 
Heavy  lead  :  “  Bladys  of  the 
Stewponey,”  “Cost  ofa  Kiss,” 
“  Britain’s  Naval  Secret,”  etc. 
ii,  Clanricarde  Gardens, 

Hyde  Park,  W.2. 
Park  4574. 
and  Kinema  Club. 

Photo  bv  Navana. 


FRED  WRIGHT. 

The  Crazy  Hunchback 
in  the  colour  film 
“The  Glorious  Adventure,” 
Covent  Garden  Theatre. 
THE  COPSE, 

WEST  DRAYTON 
'Phone  ;  Yiewsley  82,  or 
Kinema  Club. 


EVELYN  BRENT 

Latest  Productions, 

“  Demos,”  “  Sonia,” 

“  Laughter  and  Tears,”  etc. 
At  present,  Famous  P.-L. 

Bus.  Coins.,  Sidney  Jay, 
Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av. ,  W. 1 
Regent  4329. 


GORDON  HOPKIRK 

Leads— Ideal:  ‘Sybil,’  ‘Ernest 
Maltravers  ’  Direct:  ‘Four 
MeninaVan.’  Masters  :‘Fra 
Diavolo,’'  Bride  of  Lammer- 
moor,’  ‘Faust,’  ‘Maritana,’ 
‘Jane  Shore.’  ‘Stella’: 
P.  &  B.  ‘  Settled  in  Full.’ 
IL&C  :  ‘The  Queen's  Secret.’ 
At tistic  :  ‘The  Skipper’s 
Wooing’  Addrrss; 

School  House,  Tower  Street, 
W.C.2  or  Kinema  Club. 


MARGARET 

HOPE, 

Character  &  Juvenile  Leads. 

Late  Ideal,  Masters,  Stolls, 
etc.,  etc. 

42,  Bland  ford  Square, 
Marylebone,  N.W.l. 
Phone  :  Padd.  jm. 


GORDON  BEGG 

Dramatic  —  Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.  11, 

Telephone  ;  Battersea  21. 


WARREN 

HASTINGS 

5,  POND  PLACE. 
CHELSEA 
S.W. 3. 


ROSINA 

WRIGHT, 

Famous-Lasky,  Stoll,  Lon¬ 
don.  Samuelson,  Davidson, 
Ideal,  Broadwest,  etc. 

7  years  Film  Experience. 

8a,  GOLDERS  WAY. 
GOLDERS  GREEN,  N.W  11 
or  Kinema  Club. 


F.  C  R  E  M  L  I  N  . 

Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club 


ARTISTES 


FLORENCE  INGRAM 

90a,  LEXHAM  GARDENS, 
KENSINGTON,  W.8 
West  4519. 

British  Super  Productions, 
Davidson  ;  Beacon  Films, 
Daisy  Productions,  “Mrs. 
Stanton”  second  lead  in 
“  Gypsy  Blood.” 


GEORGE  KEENE 

Star  Lead.  Dis engaged. 
Feafuiitif ' — “Black  Sheep,” 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters,” 
“Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 
Address  : 

121b,  Church  St.,  Croydon 
’Phone  :  Croydon  833. 


DAISY  BURRELL 

Just  finished  playing  lead  in 
‘‘Cinderella  ’’  panto. 

Last  Film  :  Star  part  in 
“  Pride  of  the  Fancy.  ’ 

OPEN  TO  OFFERS. 
39,  Avonmore  Road, 

West  Kensington. 
’Phone  :  Western  675. 


MELINDA  LLOYD 

Alliance,  The  Councillor’s 
Wife  in  “The  Card,”  Ideal, 
Samuelson,  Granville  Pro¬ 
ductions,  Laskys,  etc. 

24,  PARK  VIEW, 
WELLING,  KENT. 


LILIAN 

HALL  DAVIS. 

JUVENILE  LEADS. 
Samuelson,  Ideal,  Gra¬ 
ham  Wilcox,  etc.,  etc. 
All  corns.  : 

Worton  Hall, 
Isleworth,  Middlesex 


THELMA 

MURRAY 

Character  &  Emotional  parts 
Leads  for  Stoll,  Masters, 
Raleigh  King,  B  &  C.,  etc. 
All  corns  :  “LYNDALE.” 
OAKLEY  RD. 
WHYTELEAFE,  f  UR  KEY, 
or  to  the  Kinema  Club. 


PHOTO 

BLOCK 


THIS  SPACE 
TO  LET 

^3  for  13  insertions, 
including  ccst  of 
making  block. 


ADELINE  HAYDEN  COFFIN 

Sympathetic  Mother,  Grande  Dames. 
Character  Parts,  “  Mrs.  Galty,”  in  “Christie 
Johnstone  ’’  (Broadwest),  “  Margaret  Howe’’ 
in  “  Beside  the  Bonny  Brier  Bush  ’’  ( Lasky). 

55.  Campden  St.,  Kensington,  W.8. 

Tel.  :  Park  3623. 

M A  D  W  I  LS  ON 

AT  LARGE. 

Open  for  Stage  o  •  Cinema  Engagements  ;  s 
Ape  Impersonator  —  or  any  crafty  impish 
character — p  isonifyir  g  Idol,  Dwarf,  Miser, 
etc.,  etc.  Heigh  4  ft.  2  in. 

28a,  Danehurst  Street,  Munster  Rond, 
Fulham,  S.W. 


HETTY  CHAPMAN 

Character  and  Comedy. 

18,  WYM  EKING  MANSIONS, 

MAIDA  VALE,  W. 


ARTISTES  .  . 


HUGH  MILLER 


6,  MILLMAN  ST., 
W.C.l. 


Te’ephone  : 
Gerrard  443  2 


ARTHUR  PUSEY 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagoon’’  for  I.V.T.A 

All  coins.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 


PAIGE, 


CHARACTER 

ACTOR. 


INVITES  GOOD  OFFER.  Plus  or  minus  all  or 
any  portion  of  NATLIRE’S  Beard  and  Moustache. 
Beard,  etc.,  NOW  in  the  rough. 

Stoll,  Blackton,  Fox,  The  Windsor,  etc. 
VARIED  STAGE  EXPERIENCE. 
Address  :  See  “  Who’s  Where.’’ 

’Phone:  Streatham  264. 

CHARLES  LEVEY 

as  Captain  Gething  in  the  Artistic  P  oduct  on, 
“  "1  he  Skipper's  Wooing.” 

At  prese.it  playing  “Earl  Paget”  in  the  J.  Stuart 
Blackton  Production  “The  Virgin  Queen.” 
Address  : 

15,  STOKENCHURCH  ST.,  FULHAM,  S.W.6 


MARIE  AULT, 

Character  and  Comedy. 

235.  King's  Road,  Chelsea. 

MILTON  ROSMER 

INVITES  OFFERS. 

16,  Weymouth  Street,  W.i.  ’Phone  :  Langham  2243 

MRS.  HUBERT  WILLIS, 

Character  and  Emotional  Parts. 

29,  St.  Peter’s  Square,  W.6.  ’Phone  :  Hammersmith  85, 
or  Kinema  Club.  Regent  2131. 


COSTUMIER.  .  .  . 

Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W. 

’Phone;  Gerrard  612. 


SCENARISTS  „ 


GERALD  DE  BEAUREPAIRE, 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 

KINCHEN  WOOD, 

Late  Win.  Fox  Studios,  Los  Angeles. 

7,  Wymering  Mansions,  Maida  Vale,  W.9. 


JOHN  SALTER 


Established 
1896. 

CAMERAS  PROJECTORS, 

LOCAL  TOPICALS, 

13,  Featherstone  Buildings,  Holborn,  W.C  1 
’Ph.  mo — Chancery  7408. 


THIS  SPACE  TO  LET 
17s.  6d.  for  13  insertions 


2 


November  ii,  1922. 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93.  Long  Acre, 
London,  W.C.2. 


Vol.  2  No.  75 


Telegrams— 
Southernwood, 
Rand,  London 

Telephone— 
Gerrard  9870. 


Nov.  11,  1922 


Self-Advertisement. 

HIS  is  the  Day  of  Disillusionment. 
Of  about  twenty  thousand  girls 
who  have  had  the  fires  of  hope  stoked 
within  them  by  a  tactless  publicity 
stunt,  one  girl  is  going  to  be  selected 
by  Norma  Talmadge.  Our  attitude 
is  well  known.  At  first  this  journal 
was  the  only  voice  of  protest  against 
this  form  of  American  sensational  publicity  ; 
we  are  now  joined  by  the  Daily  Graphic 
and  the  Manchester  Guardian.  The  former 
says  : — “  Distressing  stories  reach  me  every 
day  about  the  heart-breaking  unemploy¬ 
ment  in  the  kinema  industry  in  London. 
Only  those  who  know  the  inner  workings 
of  the  film  industry  have  any  conception 
of  the  daily  tragedies  which  are  enacted 
around  Wardour  Street.  The  Talmadge 
sisters  are  coming  to  London  with  a  great 
blaze  of  publicity.  Foolish  people  are  in 
danger  of  being  misled  by  such  a  blaze  of 
publicity.  It  does  not  mean  anything. 
Least  of  all  does  it  mean  that  fortunes  for 
flappers  are  waiting  in  the  film  business. 
Transient  beauty  is  not  a  key  to  film 
success.  It  comes  with  great  talent  and 
years  of  hard  work,  nearly  always  mixed 
with  months  and  years  of  poverty  and  dis¬ 
appointment.  Why  should  thousands  of 
silly  girls  be  disappointed,  just  to  advertise 

Norma  Talmadge  ?  ” 

*  *  * 

Spontaneity  ! 

N  conversation  with  Norma’s  private 
secretary,  we  learned  of  the  spon¬ 
taneous  ”  reception  that  the  Sisters  had 
received  at  Victoria  and  other  places.  But 
we  know  different.  We  know  of  the  letter 
to  exhibitors  from  Associated  First 
National  : — “  I  feel  confident  all  of  your 
patrons  would  be  interested  to  know  at 
what  time  the  two  great  screen  artistes, 
Norma  and  Constance  Talmadge,  are  likely 
to  arrive  in  this  country.  A  great  number 
of  them  would  doubtless  like  to  be  at  the 
station  to  welcome  them.  I  suggest, 
therefore,  that  you  announce  on  your 
screen,  by  means  of  a  slide,  the  fact  that 
they  will  be  arriving  at  Victoria  Station  on 
Tuesday  next,  November  7,  at  approxi¬ 
mately  4.30  p.m.”  A  strange  kind  of 
spontaneity  ! 

*  *  * 

Disappointment  and  Distress. 

OW,  our  attitude  on  this  matter  is 
perfectly  clear.  We  say,  first  of 
all,  that  we  agree  with  personal  publicity. 
But  we  disagree  with  any  form  of  publicity 
which,  in  bringing  personal  advertisement 
to  the  promoters  (be  they  artistes,  firms, 
films  or  newspapers)  is  creating  disappoint¬ 


ment  and  distress  to  other  people.  Norma 
Talmadge  told  us  herself  when  we  chatted 
with  her  at  the  Savoy  on  Tuesday  :  “  I 
thought  this  scheme  would  make  me  very 
happy,  but  it  has  really  made  me  unhappy 
when  I  read  of  the  trouble  to  which  some 
of  these  poor  girls  have  gone.”  We 
also  object  to  the  fact  that  Miss  Talmadge, 
in  the  execution  of  the  stunt,  should  have 
paid  the  oblique  insult  to  the  British  screen 
artistes  that  she  should  deliberately  avoid 
them  and  direct  her  search  for  a  ”  British 
Screen  Queen  ”  to  the  typists,  shop 

Some  folks  do  nothing 
in  the  Present  because 
they  believe  that  it  is 
the  Future  that  will 
bring  responsibilities. 

Actually  they  have 
a  big  responsibility 
now — human  responsi¬ 
bility  :  to  recognise  his 
capacities  and  develop 
them ;  to  know  his 
passions  and  control 
them ;  to  appreciate 
his  limitations  and  live 
within  them. 

II  A  vast  amount  of 
human  endeavour  is 
palsied  and  lost  because 
a  man  does  not  know 
himself.  Go  on  an 
expedition  of  Self- 
Discovery. 

assistants  and  factory  girls  of  the  country. 
We  were  told  by  one  of  the  Daily  Sketch 
organisers  that  they  were  ejecting  the 
film  artistes  who  had  enrolled.  We 
also  protest  against  the  inevitable  effect 
that  this  stunt  will  have  of  introducing  to 
the  overcrowded  and  underworked  British 

studios  an  army  of  incompetent  optimists. 

*  *  * 

Inter-Organisation  Wanted. 

F  the  British  film  Industry  was  as  skil¬ 
fully  organised  as  the  American  such 
an  event  would  never  have  happened.  It 
would  have  been  countered  by  the 
organised  exhibitors,  at  the  request  of  the 
organised  artistes,  telling  Norma  that  they 
would  refuse  to  screen  her  pictures  if  she 
persisted  in  her  efforts  that  would  harm 


the  Industry.  But  the  British  film  Trade 
is  only  just  beginning  to  know  the  value 
of  federated  organisation.  Which  brings 
us  to  that  other  important  subject — the 
organisation  of  film  artistes. 

*  *  * 

”  Pro  and  Con.  ’ 

will  be  seen  by  the  representative 

views  printed  on  another  page  that 

the  overwhelming  opinion  of  the  artistes 
is  in  favour  of  a  Film  Artistes’ Federation, 
and,  if  this  cannot  be  arranged  imme¬ 
diately,  a  self-controlled  organisation  with¬ 
in  the  aegis  of  the  Actors’  Association. 
Robert  English  has  an  idea  that  it  should 
not  be  film  artistes  but  film  managers  and 
directors  who  should  be  organised.  He  is 
only  half  right.  Every  section  should  be 

organised.  And  every  organised  section 
should  be  federated.  The  proposal  for  a 
federation  of  the  film  artistes  with  the 
stage  artistes  in  the  A. A.  is  the  first  step 
towards  that  ideal.  This  would  overcome 
Colonel  English’s  other  objection — viz., 
the  possibility  of  the  stage  acting  pro¬ 
fession  being  drawn  upon  in  the  event  of 
organised  film  artistes  refusing  to  work. 
If  the  film  artistes  organisation  was  a  branch 
of  the  Actors’  Association,  the  A. A.  would 
see  to  it  that  no  stage  artistes  are  allowed 
to  be  used  as  substitutes  for  film  artistes 
jn  times  of  dispute. 

*  *  * 

Self-Protective  Measures. 

T  must  not  be  assumed  that  there  has 
been  any  overtures  from  the  A.A. 
directed  to  this  suggestion.  The  reverse 
is  the  case  ;  and  to  a  certain  extent  we  are 
not  justified  even  in  promising  that  the 
A.A.  would  agree  to  the  scheme.  On  the 
other  hand,  we  know  the  great  stand  that 
the  A.A.  is  making  on  the  question  of 
federating  the  various  branches  of  workers 
engaged  in  the  entertainment  world,  and 
this  fact  assures  us  that  the  film  artistes 
branch  would  be  certain  of  complete 
autonomy,  which,  of  course,  carries  with 
it  the  right  to  secede  if  and  when  the 
branch  decides.  We  strongly  advise  film 
artistes  to  agree  to  the  formation  of  a  film 
artistes  branch  in  connection  with  the  A.A. 
This  we  advise  because  we  are  convinced 
that  it  will  take  three  or  four  years  of  hard 
work  to  educate  film  artistes  up  to  a  true 
sense  of  unionism  so  that  they  would  be 
strong  enough  to  form  their  own  Federa¬ 
tion,  and  in  the  meantime  they  are  being 
victimised  and  maltreated  weekly.  The 
A.A.  would  provide  a  ready-to-hand 
organisation  ;  a  strong  moral  support,  and 
a  “  haven  ”  for  the  immediate  dark  days. 


3 


THE  MOTION  PICTURE  STUDIO 


November  ii,  1922 


CAMERAMEN.  .  .  . 

ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN— 

:  SCIENTIFIC  OUTFIT.  : 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  Street,  W.C.2. 

’Phone — Regent  2131. 

L.  G.  E  G  R  O  T 

EXPERT  CAMERAMAN. 

“The  Better  ’Ole,”  etc.,  etc., . 

.  .  .  .  “  The  Wonderful  Story.  ” 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W.2. 

’Phone:  Streatham  3085. 


To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
- SUPPLIED - 

From  your  own  Photo,  in  best  glossy  style  : — 


WHO’S 


Several  directors  have  explained  to  us 
ttie  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 


“  'yHE  most  useful  column,  to  my  mind, 
and  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  is  ‘Who’s 
Where.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.  ” — 
GH ALLIS  N.  SANDERSON. 

“  T  PERSONALLY  would  like  o  see 
more  artistes  using  vour  space  under 
the  heading  of  ‘  Who’s  Where.’  ”  — 

H.  B.  PARKINSON. 

“  'T’HE  column  which  is  of  most  service 
to  us,  and  which  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  ’’  — 
NORMAN  WALKER  (Ca;t.),  Alliance  Films. 


ATWOOD,  ALBAN :  25,  Stanley  Crescent, 
W.ll.  Park  2892. 


One  position,  per  gross . 17/6 

Two  positions,  Half  gross  of  eac’ -  -  307- 

Single  dozen . 3/6 

Enlargements,  each . 10/6 


Samples  can  be  seen  at 
THE  PICTURE  SALON, 
88,  Long  Acre,  W.C.2. 


LEICHNERS 

WORLD 
RENOWNED 


Orim*" 

JUMP 


Obtainable  from  all  Chemists 
and  Theatrical  Costumiers. 
Price  Sd.  per  stick. 

If  any  difficulty  in  obtaining 
same  apply  direct  to 

Sole  British  Agents  : 

VANITIES  LTD., 
15a,  Whitcomb  St. 

(Off  Leicester  Sq.), 

W.C.2 


GREASE 
PAINTS 

&  POWDERS 


BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.11.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercorn  P.ace,  N  W. 
Hampstead  3083. 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt,  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS  :  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

CAREW,  JAMES,  15,  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3904 

CHESNEY,  ELIZABETH  :  c/o  Miss  Mrrris, 
25,  Clevedon  Gardens,  W.2.  (Flat  4). 
Padd.  5844. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
Redcliffe  Gardens,  S;W.  10.  ’Phone: 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.  11.  Park  2077. 

ESMOND,  ANNIE ;  43,  Richmond  Road, 
Westbourne  Grove,  W.2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

FANE,  DOROTHY :  12A,  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 

GRACE,  ADELAIDE,  103,  Morshead 
Mansions,  Maida  Vale,  W.  9. 

GRAFTON,  GEORGE  :  289,  Scott  Ellis 
Gardens.  St.  John’s  Wood,  N.W. 
Paddington  6928. 

GREGORY,  FRANK,  Character ,  107,  St. 
Alban’s  Avenue,  W.4. 

HARRIS,  GEORGE,  33,  Torrington  Squate, 
W.C.l. 

HASTINGS,  WARREN,  5,  Pond  Place, 
Chelsea,  S.W.3.  Western  7160. 

HOWARD,  LIONELLE:  108,  Alderbrook 
Road,  Balham,  S.W.I 2. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heatlifield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF,  ADRIENNE,  12,  Russel! 
Chambers,  Bury  St,,  W.C.  Museum  7977 


WHERE. 

NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W,  Streatham  264. 

PAXTON,  SYDNEY  :  28,  Be  ford  Place, 
Russell  Square,  W.C.  Museum,  7235. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell,  S.E.5. 

RAYNER,  MINNIE  :  Kingwater  Cottage, 
Churca  Walk,  Thames  Ditton. 

ROME,  STEWART  :  10,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  32.  Lauderdale  Mans. 
Maida  Y  ale.  Maida  Vale  2177. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  15,  Grove 
Mansions,  North  Side,  Clapham  Ccm- 
mon  12.  Latcbmere  4343, 

STEERMAN  A.  HARDING:  56  Portland 
Road,  W.i  1.  Park  2529. 

STERROLL,  GERTRUDE:  14.  Queen’s 
Road,  St.  John’s  Wood,  N.W. 8 

TEMPLETON,  BEATRIX:  20,  Foxglove 
Street,  Wormholt  Estate,  W.12. 

THATCHER,  GEORGE:  33,  Denbigh 
Street,  Belgrave  Road,  S.W.  Victoria 
2060. 

TOD,  MALCOLM  :  25,  Bryanston  Street, 

W  1.  Mayfair  5063. 

TREE,  MADGE  :  15,  Lancaster  Court,  New. 
man  St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Ro  ad 
Barnes,  S.W.  13.  Putney  1945. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 
2131. 

WALCOTT,  ARTHUR:  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  2131. 

WILLIS,  HUBERT,  Mrs.,  29,  St.  Pe  er’s 
Square,  W.6.  Hammersmith  85. 

Two  lines,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a  year,  prepaid. 

Extra  lines,  is.  per  insertion- 


THIS  SPACE  TO  LET 
£2  10  0  for  13  insertions 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M’LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.I, 

’Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  2131. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 
NOW  BACK  IN  LONDON. 


4 


November  it,  192 


THE  MOTION  PICTURE  STUDIO 


Intimate  Studio  Qossip 


Met  Stewart  Rome  the  other  day  just 
as  he  said  “Good-bye”  to  Stoll 
studio  for  the  moment.  He  had 
finished  the  leading-  part  of  Magnus  in 
“The  Prodigal  Son,”  which  A.  E. 
Coleby  has  been  directing.  Rome  told 
me  that  it  was  the  strongest  and  most 
human  character  part  he  has  ever 
played.  Towards  the  end  of  the  story 
he  wears  the  absolute  latest  creation  in 
“  Beavers.”  I  might  add  that  as  Paris 
is  the  home  of  millinery  creations,  Ice¬ 
land  is  the  home  of  facial-fungi 
creations.  Rome  copied  his  particular 
“  Beaver  ”  from  an  Icelandic  farmer 
not  far  from  the  homestead  of  the 
original  Magnus.  And  now  he’s  glad 
to  be  able  toi  breathe  again  ! 

Had  a  ’phone  call  from  Mrs.  Le 
Breton  yesterday  to  tell  me  that 
Flora  has  successfully  negotiated  the 
operation  to  her  throat  and  is  quite 
well  on  the  road  to:  complete  recovery. 
She  is  still  in  the  nursing  home,  but 
expects  to  g-et  her  “ticket  ”  soon.  I’m 
glad  to  hear  it — what  is  filmdcm  with¬ 
out  its  fauna  and  Flora? 

Within  the  next  few  days  Victor 
McLaglen  hopes  to  have  completed 
work  in  his  latest  film  “The  Romany,” 
in  which  he  will  appear  in  the  title 
role,  and  which  has  been  made  under 
the  direction  of  Martin  Thornton. 
Despite  all  rumours  to'  the  contrary, 
McLaglen  is  not  under  a  yearly  contract 
to  any  British  firm,  nor  has  he  been 
since  his  introduction  to  British  films. 
During  the  past  two  years  McLaglen 
has  appeared  in  no  fewer  than 
ten  star  parts,  in  all  of  which  he  has 
supported  various  characters. — from 
that  of  a  sporting  “  ne’er  do  well  ”  of 
the  eighteenth  century  to  a  modern  man 
about  town.  He  is  exceptionally  keen 
on  character  work,  however,  and  in 
both  “A  .Sailor  Tramp”  and  “The 
Romany  ”  he  has  been  given  wide 
scope  for  his  ability  as  an  actor  and  a 
man  of  muscle.  In  “The  Romany” 
he  wears  the  clothes  and  make-up  of  a 
gipsy,  and  breaks  hearts  and  knuckles 
with  consummate  ease. 

After  an  exceedingly  busv  six  months, 
H.  B.  Parkinson,  the  energetic 
director  of  the  Masters  Film  Com¬ 
pany,  is  taking  a  short  rest  from  pro¬ 
duction  work.  During  the  summer 
months  the  output  of  films  from  the 
Masters  studio  created  something-  of 
a  record.  Apart  from  the  five-reelers 
entitled  “Trapped  by  the  Mormons,” 


“Married  to  a  Mormon,”  “  Crushing 
the  Drug  Traffic,”  “A  Gamble  With 
Hearts”  and  “The  Green  Caravan,” 
no  fewer  than  five  series  of  twelve  one- 
reelers  were  produced.  The  one- 
reelers  include  “Tense  Moments  from 
Great  Operas,”  “Tense  Moments  from 
Great  Authors,”  “  Selected  Poems 
from  George  R.  Sims,”  “Tense 
Moments  from  Great  Plays,”  and  the 
most  recent  series  which  are  written 
around  popular  sports. 

Yazikava,  the  Russian  actress  who  is 
playing  for  Atlas'  Biograph  in  “The 
Man  Without  Desire,’’  has  decided  to 
change  her  name.  At  present  the  name 
Yazikova  is  being*  mispronounced,  and 
SO'  she  has  decided  that  in  future  she 
shall  be  known  by  her  real  surname 
Vanna.  '  Her  full  name  will  now  be 
Nina  Vanna. 

The  new  Walter  West  production, 

“  Honets’  Nest,’’  is  now  well  on 
the  way  to  completion.  Work  on  the 
interior  scenes  for;  the  film  was  com¬ 
menced  this  week  after  the  company 
had  spent  five  weeks  in  Sussex. 
During  that  time  scenes  were  taken  at 
Lewes  Cattle  Market  and  at  an  old- 
fashioned  country  fair'.  Numerous 
shots  were  also'  taken  on  board  a  sail¬ 
ing  ship  which  Mr.  West  chartered 
for  the  purpose.  These  are  the  first 
actual  sea  scenes  which  Mr.  West  has 
directed  since  the  film  of  “  Missing 
the  Tide,”  one  of  his  earliest  successes, 
in  which  Violet  Hopson  played  the 
leading1  part. 

Y red  Wright,  who  is  playing  the  part 
of  Tony  Cobb  in  this  new  Walter 
West  film,  has  had  a  few  very  uncom¬ 
fortable  experiences  during  the  making 
of  the  film  scenes.  As  the  skipper  of 
a  sailing  vessel  he  is  attacked  by 
pirates,  who  swarm  on  to  the  deck, 
and  Wright,  to  escape,  climbs  into  the 
rigging,  from  which  point  of  vantage 
he  drops  into  the  middle  of  a  groupi  of 
pirates  and  so  kills  them.  When  the 
scene  was  filmed,  Wright  fell  with 
such  violence  that  he  knocked  over 
four  of  the  bloodthirsty  “pirates”  and 
severely  sprained  his  wrist.  The 
scenes  on  which  he  is  now  working, 
however,  are  very  much  quieter,  for 
he  is  seen  in  his  little  village  home 
with  Florence  Turner  as  his  adoring 
wife.  In  these  scenes  a  cockatoo1 
causes  much  merriment  and  comedy 
relief  by  his  frequent  comments  on 
men  and  matters — chieflv  on  Cobb 


himself,  whom  Cocky  usually  greets 
with  the  words:  “Drunk  again?” 
which  reflect  the  bibulous  character  of 
’Tony  Cobb. 

Hepworth  has  started  out  to  make 
“  Bigger  and  Better  Pictures,”  and 
the  first  of  these  is  shortly  to  be  pro¬ 
duced.  It  has  been  announced,  how¬ 
ever,  that  the  company  will  not 
divulge  particulars  of  the  films  being 
made  or  the  artistes  appearing  in  them 
until  close  on  Trade  show  date. 
Cecil  M.  Hepworth  is  now1  in  New 
\  oink,  and  has.  met  with  a  good  deal 
of  success  in  his  attempt  to  develop 
the  American  market  for  Hepworth 
Picture  Plays.  A  picture  play  from 
the  W  alton-on-Thames  studio  is  to  be 
released  in  America,  once  a  month. 

While  on  the;  subject  of  Hepworth,  it 

is  interesting  to  note  that  Henry 
Edwards  has  just  completed  the  first  of 
the  series  of  “Hepworth  Special,”  and 
that  this  film  possesses  no  sub-titling 
or  descriptive  wording  of  any  kind. 
Under  the  new  policy,  Hepworth 
directors  who  require  scenes  in  France 
will  go  to:  France  for  them,  and  it  will 
be  the  same  whether  the  scenes  are 
required  in  South  America,  Iceland 
or  Timbuctoo,  no  attempt  is  to  be 
made  to.  have  fakes  of  these  countries 
in  the  studio. 

This  week  saw  the  departure  of  Leo 
Gordon  (of  Stage  and  Screen 
Booking  Offices)  for  Germany,  where 
he  has  gone  for  a  short  business  trip, 
the  results  of  which  w  ill  be  seen  later. 

Wednesday  I  was  at  the  dinner 
given  by  the  Daily  Sketch  to'  the 
Talmadge  Sisters,  and  the  One 
Hundred  Girls  who  are  in  the  semi¬ 
final  for  the  “British  Screen  Queen.” 
1  here  were  among  the  Hundred  about 
a  dozen  with  any  screen  possibilities. 
Some  of  the  others  looked  hopelessly 
hopeless,  proving  that  the  basis  of 
select  i  on — -ph  ot  ogr  a  p  h  s —  is  defective. 
I  saw  a  well-known  screen  artiste 
among  the  Hundred,  but  was.  officially 
told  that  she  and  any  other  artistes 
would  be  rejected  because  they  are 
^  artistes.  Thank  you,  Norma  ! 


5 


THE  MOTION  PICTURE  STUDIO 


November  it,  1922 


ARTISTES  TO  ORGANISE 

Representative  Views  on  Federating  with  the  Actors’  Association. 


^  FILM  artistes’  federation  on  the  lines 
of  the  Actors’  Association,  would  be 
of  little  value.  My  idea  is  that  more  good 
would  be  created  were  the  film  managers 
and  directors  to  form  a  federation  under 
a  sworn  agreement  to  treat  all  artistes 
fairly,  reasonably,  and  without  favour. 

This  is  the  reverse  way,  I  know,  but 
that  is  where  the  trouble  lies. 

There  is  so  much  lack  of  frankness  and 
openness  in  the  film  world,  and  the  fear 
of  offending-  a  man  who  later  may  be  in 
a  position  to  give  an  artiste  work,  that 
most  artistes  are  kept  under,  and  can 
never  (nor  will  they  even  with  an  artistes’ 
federation)  stand  up  and  fight  for  reason¬ 
able  rights.  It  is  only  when  an  artiste 
has  reached  a  certain  position  (and  even 
then  it  depends  on  the  man  or  woman) 
that  he  ever  stands  out  against  intoler¬ 
able  treatment  from  a  firm  or  a  director. 
1  he  firms  and  directors  know  this,  and 
frequently  work  upon  it,  to  the  detriment 
of  the  artiste,  financially  and  artistically. 

In  my  opinion,  the  only  way  to  run  a 
federation  of  artistes  successfully  would 
be. for  it  to  be  run  by  purely  business  men, 


who  were  philanthropically  interested 
in  the  film  artiste  and  his  rights. 

One  of  the  greatest  difficulties  to  cope 
with  in  this  question,  and  in  any  federa¬ 
tion,  is  the  case  of  the  people  who  “'rat.” 
This,  in  many  cases  at  the  moment 
(owing  to  the  violent  depression  in  film 
work  in  this  country  at  present),  would 
become  a  matter  of  necessity  amongst 
the  artistes  who  are  financially  obliged  to 
take  any  work  that  comes. 

1  do  not  know  if  you  care  for  these 
views,  but  they  are  what  I  feel,  and 
drawn  from  my  three  years’  observation 
in  the  profession. 

One  must  remember,  I  think,  that  if 
all  the  film  artistes  were  federated  and 
refused  to  work  unless  under  certain 
conditions,  there  is  the  whole  of  the 
stage-acting  profession  to  draw  from,  the 
majority  of  whom  would  not  have  be¬ 
come  members  of  the  Film  -Artistes’ 
Federation. 

I  do  not  feel  that  the  film  artistes  in 
this  country  are  yet  in  a  strong  enough 
position  to  take  up  the  suggested  atti¬ 
tude.  They  would  be  beaten  every  time.— 
Robert  English. 


PRO  AND  CON 


QUITE  agree  with  the  view  taken  in 
your  last  issue  that  film  artistes  should 
be  organised  into  a  protective  body  within 
the  Actors’  Association.  I  feel  that  the  time 
has  not  yet  arrived  for  a  separate  Federation. 
I  personally  have  no  cause  to  complain  of  the 
way  1  have  been  treated  by  all  the  recognised 
film-producing  companies  I  have  worked  for, 
but  I  think  .some  protective  association  is 
necessary  for  the  profession  generally. — 
Ernest  A.  Douglas. 

THINK  a  Film  Artistes’  Federation 
within  the  compass  of  the  Actors’  Asso¬ 
ciation  would  be  a  very  good  thing. — - 
Florence  Harwood. 


FEDERATION  by 
Edward  O’Neill. 


all 


means. — ■ 


R“!N  O  the  question  of  forming  a 
film  Artistes’  Federation  within  the 
compass  of  the  A. A.,  I  would  like  to  say 
that  the  suggestion  is  ,an  excellent  idea, 
because  it,  is  very  necessary  that  the  interests 
of  the  artistes  should  be  guarded  by  some 
organisation  such  as  suggested,  and  I  most 
heartily  vote  in  favour  of  it.  I  am  already 
a  member  of  the  A. A.,  and  I  shall  look  for¬ 
ward  with  eager  interest  to  the  result  of  your 
enorts  in  this  excellent  cause.— John  Stuart. 

J  CAN  only  surmise  that  one  of  the  mam 
reasons  why  those  who  act  in  films  do 
not  at  present  form  an  independent  Federa¬ 
tion  is  because  of  the  number  who  combine 
or  alternate  acting  in  films  and  on  the  stage, 
and  in  consequence  of  their  connection  with 
the  latter  branch  (stage)  may  already  be 


members  of  the  A.A..  It  therefore  seems  to 
me  that,  until  such  time — if  ever — as  film 
work,  as  compared  with  stage  work,  is  con¬ 
sidered  as  distinctive  from  the  latter  as 
variety  work  is  from  either,  the  best  thing 
for  the  film  artiste  (solely)  to  do  is  to  federate 
with  that  branch  which  most  approximates 
his  own  work — i.e.,  the  A. A.  At  the  same 
time,  and  while  not  wishing  to  infer  that  the 
A. A.  be1  made  a  convenience  of  (quite  the 
contrary,  and  thanking  it, for  any  assistance), 
I  would  suggest  that  any  film  artiste  joining  it 
does  so  with  the  feeling  that  should  a  Film 
Artistes’  Federation  ultimately  eventuate  he 
- — or  she — would  join  it,  and  that  the  idea 
of  a  Film  Artistes’  Federation  should  still  be 
kept  in  view. — Gordon  Begg. 


VVrlTH  regard  to  Federation,  I  am 
’  ’  strongly  in  favour  of  it ;  one  has  only 
to  attend  one  of  the  A. A.  shop  meetings  to 
be  convinced  that  it  is  the  only  way ;  to 
unite  is  to  be  something  and  to  do  some¬ 
thing.  Until  we  do  we  are  like  a  lot  of 

straggling  sheep,  who  will  never  reach  their 
goal.  I  shall  be  only  too  pleased  to  get 
recruits. — Lallie  Clifton  Boyne. 


STRONGLY  support  the  idea.  It  is  time 
that  directors  should  cease  to  exploit 
us  as  mere  pawns  in  the  game. 

I  understand  that  in  America  it  is  the  rule 
that,  all  artistes  working  beyond  six  o’clock 
get  double  pay,  and  if  working  beyond  twelve 
the}r  get  treble  pay,  and  double  for  Sunday 
work. 

The  scarcity  of  work  of  any  kind  in  pro¬ 
duction  no  doubt  compels  many  a  needy 
man  to  accept  very  low  fees.  That  point, 


in  my  ouinion,  would  prevent  the  better  fees 
being  procurable  in  most  cases. — Thos. 
Canning. 

TN  my  opinion  the  pure  principles  of  trade 
unionism  are  sound  and  beneficial  to 
its  members  and  the  calling  it  represents. 
1  would  gladly  become  a  member  for  just 
so  long  as  those  principles  were  not  abused. 
— Stewart  Rome. 

¥TNTIL  our  directors  realise  that  it  is 
actors  and  not  types  that  are  necessary 
I  do  not  see  any  immediate  need  for  a  “Film 
Artistes’  Federation.”  Should  one  be  formed, 
it  should,  in  my  opinion,  be  a  separate  and 
distinct  trade  union.  As  an  ex-member  of 
the  Actors’  Association,  I  strongly  deprecate 
any  incorporation  with  that  body. — 
Idonelle  Howard. 

T  HAVE  always  been  strongly  in  favour 
of  forming  a  F.A.F.,  and  will  willingly 
put  my  thirty  odd  years  of  stage  experience, 
and  nearly  a  quarter  of  a  century  of  film 
work,  at  the  disposal  of  the  committee. 

I  would  suggest  that  we  carry  the  matter 
through  entirely  as  a  Film  Artistes’  Federa¬ 
tion,  and  not  in  conjunction  with  the  A. A. 
or  the  V.A.F.  It  is  quite  time  we  had  some 
kind  of  a  contract  or  rules  on  which  we  can 
work.  As  it  is,  it  simply  goes  by  what 
another  studio  or  director  may  do,  let  that  be 
right  or  wrong.  Believe  me  when  I  say  1 
am  most,  sincere  on  the  matter,  and  will 
assist  all  I  can. — George  Bishop. 


DO  not  believe  in  any  association  or 
trade  union  of  any  kind,  and  have  never 
joined  any.  I  have  got  all  my  engagements 
both  for  stage  and  films  with  very  few 
exceptions  entirely  for  myself.  1  do  not  see 
the  use  of  being  tied  and  bound  by  the  rules 
of  any  Federation. — Ida  Fane. 


\  NYTHING  in  the  form  of  a  “trade 
•*  union  ”  is  “anathema  ”  to  me ;  but 
if  such  things  have  to  be  I  think  affiliation 
with  a  going  institution,  such  as  the  A. A., 
that  has  done  the  pioneering  and  spadework, 
and  has  a  tried  executive  and  legal  advisers, 
is  better  than  starting  a  new  scheme,  for 
the  moment  at  any  rate. — Simeon  Stuart. 

MOVE  in  the  right  direction  at  last! 
It  gives  me  unspeakable  joy  to  thinR 
that  there  is  a  possibility  of  British  Film 
Artistes  forming  themselves  into  an  Associa¬ 
tion,  to  protect  their  rights  and  lift  the 
sinister  influence's  which  are  threatening 
to  crush  and  destroy  them. 

Our  efforts,  better  and  more  entertaining 
in  every  way  in  interpreting  the  psychology 
of  our  race,  have  been  held  up  to  ridicule. 

The  pitiful  resources  allowed  to  our  Direc¬ 
tors,  which  reflects  upon  the  Artistes,  are 
held  up  in  comparison  to  the  best  films  that 
money  and  unlimited  facilities  can  turn  out 
from  American  and  Continental  studios — we 
are  used  as  a  background  and,  mark  the 
word,  support,  to  imported  artistes,  who 
have  had  their  day  in  their  own  country 
and  are  paid  fabulous  salaries,  out  of  all 
proportion  to  their  abilities,  while  the  few 
pounds  left  over  are  scattered  to  us  British 
artistes — like  crumbs  from  the  rich  man’s 
table.  * 

But  a  greater  scandal  exists — the  one  where 
wealthy  titled  amateurs  are  exploited  and 
[Continued  on  next  page.) 


November  ii,  1922 


THE  MOTION  PICTURE  STUDIO 


SOMETHING 


PRO  AND  CON 

( Continued  from  previous  page.) 

foisted  upon  the  British  public.  Amateurs 
whose  unearned  titles  are  to  the  company 
that  employ  them  far  more  important  than 
their  impossible  and  pathetic  performances. 

I  feel  'sure  that  if  the  British  public 
knew  the  inner  history  of  these  matters 
and  knew  the  thousands  of  pounds  of  British 
money  that  is  being  paid  away  weekly  to 
these  people  while  hundreds  of  first-class 
British  artistes  are  barely  earning  suffi¬ 
cient  to  clothe  their  bodies  decently  and 
hundreds  more  are  starving — they  would  rise 
up  and  demand  fair  play. 

If  the  Association  is  going  to  right  these 
wrongs,  then  I  am  sure  that  every  artiste 
in  the  country  will  rally  round  and  form  a 
combined  front,  and  their  voices,  instead  of 
being  heard  as  far-away  whispers  of  indi¬ 
viduals,  will  be  heard  as  a  deafening  com¬ 
pelling  roar  of  a  united  force. 

“  Sail  on,  C)  Union,  strong  and  great ! 

Humanity  with  all  its  fears, 

With  all  the  hopes  of  future  years, 

Is  hanging,  breathless,  on  thy  fate  !  ” 

Ena  Beaumont. 


A  LTHOUGH  I  am  of  the  opinion  that  a 
separate  organisation  would  be  infi¬ 
nitely  preferable,  still  co-operation  with  the 
A. A.  would  be  better  than  no  organisation 
at  all.  For  all  the  existing  evils  that  beset 
a  present-day  film  artiste,  the  only  remedy 
or  even  palliative  is  efficient  organisation ; 
and  if  we  cannot  do  that  off  our  own  bat, 
then  by  all  means  let  us  join  up  with  the 
A. A. — Noel  N.  Grahame. 


PARLIAMi  NT  continued  from  page  8. 

ing  with  sentimentality  (and  often  vulgarity) 
—the  everlasting  pretty  girl  wooed  by  the 
handsome  lover  in  the  many  and  varied 
hocus-pocus  ways  invented  by  the  fertile 
imaginations  of  very  mediocre  scenarists  and 
directors?  Is  there  any  comparison  with 
that  great  masterpiece,  “  The  Four  Horse¬ 
men  of  the  Apocalypse,”  with  its  realistic, 
thrilling  and  artistic  presentation  to  the 
world  of  the  blessings  of  peace  and  the 
terrible  horrors  and  sufferings  brought  by 
war  ? 

Propaganda  may  be  the  imputed  idea — but 
surely  it  is  a  brave  idea ;  and  that  it  meets 
with  the  approval  of  the  public  is  patent 
in  that,  after  a  comparatively  long  run,  it 
still  powerfully  attracts  and  fills  a  large  and 
eager  house.  The  public  mind  is  still 
quivering  in  uncertainty,  unrest  and  doubt, 
as  the  result  of  the  many  years  of  most 
ghastly  and  cruel  warfare,  and  unconsciously 
seeks  every  opportunity  afforded  to  recap¬ 
ture  that  pre-war  stability,  sanity  and 
equanimity,  which  is  only  got  by  contrast 
and  when  cool  reasoning  is  possible. 

'The  moving-pictures  have  undoubtedly  un¬ 
limited  possibilities  for  good — and  bad. — 
Peggy  R.  Baker. 

COME  RIGHT  IN  ! 

It  you  are  passing,  or  if  you  want  to  ask 
a  question,  or  if  you  have  some  news,  or 
if  you  want  to  have  a  chat  over  the  busi¬ 
ness-  come  right  in !  We  are  anxious  to 
maintain  close  personal  touch  with  all  our 
readers.  We  are  putting  you  first  all  the 
time — you  and  your  interests  are  our  chief 
concern,  and  we  want  to  emphasise  that 
you  have  a  perfect  right  to  come  in  and 
regard  our  time  as  being  at  your  disposal. 
Come  right  iu  ! 


NEW  IN 
BRITISH 
PRODUCTION 

fjJWYO  matters  of  interest  take  a  prominent 
part  in  the  discussion  of  film  topics 
to-day.  One  is,  that  although  British 
photoplays  have  improved  considerably,  and 
in  some  cases  have  more  than  equalled 
foreign  competitors  in  acting,  technique  and 
production,  yet  there  is  in  the  big  majority 
of  cases,  ample  room  for  improvement.  This 
is  especially  noticeable  in  regard  to  detail 
work  which  is  generally  very  much 
neglected.  The  second  is,-  that  the  public 
desires  to  have  better  short  subjects,  that  is 
good  dramatic  or  comedy  stories  comprised 
in  one  or  two  reels. 

At  the  present  moment  it  has  mostly  to 
put  up  with  what  are  known  as  “  fill-ups  ” 
in  between  the  longer  pictures,  which  them¬ 
selves  are  often  capable  of  being  compressed 
into  a  very  much  shorter  footage. 

What  is  wanted  then  is  better  British 
subjects,  shorter  stories  with  punch  and 
grip,  and  variety. 

Quality  Film  Plays,  whose  first  picture 
of  the  opening  series  was  released  last  Mon¬ 
day,  have  been  especially  produced  to 
supply  all  these  three  wants. 

First,  they  give  to  the  public  one-  and 
two-reel  plays  which  are  strong  in  story, 
clean  in  plot,  and  which  are  as  good  as 
money  and  British  talent  can  make  them. 
Detail  has  been  carefully  studied,  and 
much  care  has  been  expended  on  them  as 
on  the  big  five-  or  six-reel  feature  ;  they  are 
in  short,  little  pictures  with  a  big  story, 
and  contain  excellent  entertainment  value. 
They  are  not  “  fill-ups,”  but  form  one  of  the 
most  attractive  items  on  any  program. 

The  director,  the  artistes,  and  the  camera¬ 
man  are  all  British,  and  every  department 
is  in  charge  of  an  expert  in  his  or  her  own 
line;  nothing  has  been  left  to  chance  in 
making  the  pictures  the  best  obtainable. 

In  most  foreign  productions,  carelessness 
in  settings  or  in  details  has  marred  those 
scenes  and  surroundings  which  purport  to 
be  British,  and  often  familiar  types  in  this 
country  are  rendered  mere  caricatures,  this 
is  particularly  noticeable  in  English  country 
house  scenes,  or  in  those  purporting  to  show 
the  haute  noblesse  at  home. 

In  Quality  Plays,  the  director  is  satisfied 
that  he  has  been  able  to  present  to  the 
public  a  series  of  pictures  which  will 
definitely  establish  a  high  standard  in 
British  productions,  and  which  will  be  com¬ 
parable  from  any  .standpoint  to  any  foreign 
competitors ;  .always  bearing  in  mind  that 
these  pictures  are  not  spectacular,  but 
entertaining  stories  told  in  the  most  effective 
way. 

The  subjects  have  been  carefully  chosen 
from  as  varied  a  selection  as  possible,  and 
as  their  name  implies,  Quality  Plays  are 
devoid  of  any  questionable  taste.  Their  aim 
and  object  is  to  be  .always  of  such  quality 
that  the  fact  that  they  are  being  shown  at 
■any  particular  hall  will  be  a  guarantee  that 
they  form  an  attractive  and  wholesome  enter¬ 
tainment.  All  problems  based  upon  ques¬ 
tions  of  sex-suggestion  are  strictly  taboo ; 
cleanness,  strong  plots  .and  good  entertain¬ 
ment  are  their  watchwords. 


NOW  AND  THEN 

by  ARTHUR  BATTEN 

HP  HE  dreary  months  of  wintry  weather 
have  passed,  and  now  it  is  a  pleasant 
evening  in  the  month  of  March,  1923. 
Four  months  have  passed  since  Guy  Fawkes’ 
Day,  and  spring  is  here — the  time  when  film 
companies  are  eagerly  looking  forward  to 
better  weather,  more  productions,  and  a 
better  prospect  for  the  screen  artistes  who 
have  survived  the  hard  months  of  winter. 

I  have  something  on  my  mind  on  this 
pleasant  evening  of  March,  1923,  and  I  go 
to  my  desk  to  write  out  this  brilliant  idea, 
when,  quite  by  accident  I  knock  something 
over.  ...  A  book  !  Yes ;  the  bound 
volume  of  The  Motion  Picture  Studio. 

On  the  spur  of  the  moment  I  pick  it  up 
and  open  it,  and  then  sitting  back  in  the 
chair,  glance  through  its  valuable  pages.  .  . 
with  little  or  no  attention.  I  turn  over  its 
pages.  January,  1922,  February,  June, 
November  .  .  .  and  then,  suddenly  I  become 
attracted  by  a  coloured  plate. 

Colours  always  did  attract  me,  and  now 
I  find  myself  gazing  into  a  “  watery  road,” 
a  one-arched  bridge,  and  various  buildings 
on  each  side,  .all  of  which  were  printed 
in  beautiful  colours  .  .  .  then  I  read  :  “The 
Man  Without  Desire,”  underneath.  .  .  . 

Ah  !  October  28,  1922.  .  .  .  That  copy  when 
we  shook  hands  with  our  American  friends, 
I  reflected,  still  admiring  the  coloured 
plate. 

I  go  back  over  the  Pages  of  Time,  and 
open  the  issue.  After  turning  over  the 
pages  I  stop,  look  at  a  photograph,  and  at 
the  title :  “  Financial  Basis  of  British 

Films.”  And  then  the  writer  :  “  Col.  Sir 
Walter  de  Frece,  M.P.” 

I  become  interested  in  this  article,  written 
four  months  .ago  by  so  able  and  powerful 
a  writer,  and,  so  far,  not  heeded. 

I  read  it  again  with  marked  interest.  .  .  . 
And  yet  some  persons  had  blamed  the 
winter  months  for  the  lack  of  improvement 
in  the  film  profession. 

*  *  * 

Let  us  now  get  back  to  the  present  time, 
and  leave  next  March  to  look  after  itself.  I 
hope  artistes  will  not  blame  the  winter 
months  for  a  great  deal  of  the  trade  slump, 
which  somehow  I  cannot  help  feeling  must 
be  if  a  “  Kinema  Finance  Corporation”  is 
not  formed. 

I  feel  sure  we  have  the  artistes,  directors, 
scenarists,  cameramen,  etc.,  in  this  country, 
but,  as  known  by  all,  we  have  not  the  money 
to  do  those  things  which  is  mainly  respon¬ 
sible  for  America’s  lead  over  our  British 
Industry.  As  is  mostly  the  case,  many 
articles  published  in  this  paper  hint  time 
after  time  “that  the  money  is  lacking.”  If 
someone  wants  to  find  fault  with  this 
Industry,  or  make  an  improvement  that  they 
think  will  better  our  trade,  I  feel  sure  it 
would  be  advisable  for  them  to  refer  to  page 
17  of  The  Motion  Picture  Studio  dated 
October  28,  1922,  first. 

The  moral  is  :  Don’t  waste  time  !  And  I 
should  like  to  hear  that  someone  in  a  higher 
position  than  myself  is  making  the  first  steps 
to  organise  the  “  Kinema  Finance  Corpora¬ 
tion.  ” 


7 


THE  MOTION  PICTURE  STUDIO 


November  ii,  1922 


Mirrors 
of  Life 

Mr.  Speaker, — I  found  in  Miss  Lowndes- 
Yates’  article,  “What  Are  Films  For?”  a 
point  of  view  so  new  and  interesting  that  I 
thought  I  should  like  to  contribute  my  view. 

What  .are  films  for?  I  find  myself  think¬ 
ing — What  is  life  for?  There  seems  to  me 
to  be  a  relativity — when  one  begins  to  ques¬ 
tion — because  to  me  the  Film  is  largely  a 
photograph  of  Life. 

What  are  books  for  ?  What  are  plays  for  ? 
Books  deal  with  all  kinds  of  subjects  and 
plays  that  had  not  a  like  variety  would  be 
very  limited 

An  entertainment  to  be  successful  must  be 
interesting — sometimes  the  effect  is  obtained 
in  one  way,  sometimes  another.  In  the  days 
of  ancient  Greece  I  believe  the  plays  .were 
mostly  educative,  as  they  dealt  much  with 
cause  and  effect. 

The  plots  of  books  .and  plays  are  founded 
on  everyday  happenings. 

To  most  people  life’s  happenings  teach 
lessons,  and  some  authors  see  it  largely  in 
that  light.  Some  make  an  interesting  tale 
of  it — some  don  ’f 

While  life  is  all  we  have  to  draw  upon, 
and  it  seems  the  most  interesting  thing, 
some  people  are  sure  bo  persist  in  putting  it 
on  the  screen  as  they  see  it,  and  leave  it 
to  the  spectator  to  wonder  what  it  might  be 
if  life  were  not  quite  so  much  as  it  is. — T. 
D’Oyly  Bulkeley,  Junr. 

Combine 
the  Two 

Mr.  Speaker, — I  should  like  to  reply  to 
Ghristabel  Lowndes-Yates.  “What  are 
films  for?  53  appeals  for  general  consideration 
among  those  concerned.  Business  managers, 
artistes,  authors,  scenarists,  directors  or  in¬ 
ventors,  all  are  but  human  beings,  with  but 
only  one  idea  in  mind — to  live,  to  exist. 
Therefore,  what  are  films  for? 

Let  us  see. 

In  the  first  instance,  entertainment.  Very 
well  then.  If  it  must  be  so,  why  not  join 
V utile  a  I’agreable — unite  the  practically  use¬ 
ful  to  the  pleasing  ? 

Entertainment,  yes;  but  disposing  as  we 
actually  do  of  so  many  kinds  of  entertain¬ 
ments,  each  one  absorbing  its  quota  of  de¬ 
votees,  our  line,  our  province  in  contributing 
to  the  relaxations  of  the  public  remains  as 
yet  virgin,  stands  unique  by  the  fact  that, 
with  the  photoplay  we  can  entertain  and  at 
the  same  time  educate  without  high-brow 
methods. 

A  passionate  follower  of  dancing — an  enter¬ 
tainment — might  remain  largely  gratified 
after  a  pleasant  evening  at  a  dance  hall;  so 
much  the  same  with  a  footballer,  a  boxer,  or 
a  swimmer,  or  a  billiards  or  chess  player — 
other  entertainments — by  induling  in  their 
favourite  pastime,  yet  these  same  people 
might  feel  the  need  of  another  kind  of  enter¬ 
tainment,  a  variation  to  their  sensations,  a 
spectacle  in  which,  not  being  the  actual 
characters  themselves,  they  would  like  to  sit 
down  and  watch,  and  be  provided  with  sub¬ 
ject-matter  for  thought  from  which  perhaps 


new  ideas  might  spring  forth,  which  would 
suggest  new  ambitions,  new  methods,  in  fact, 
a  new  brain-exciting  subject.  Where  to  find 
it?  The  reply  is  at  hand.  In  the  kinerna. 
The  photoplay. 

But — “  The  screen  is  not  a  pulpit,  it  is  not 
a  lecture  hall,  neither  is  it  a  political 
hustings.”  We  quite  agree  it  is  not.  Neither 
is  flour  and  water,  that  stuff  which,  after 
being  mixed  and  baked,  we  all  call  bread, 
and  bread  contributes  to  keep  us  alive.  If, 
therefore,  bread  -  constitutes  the  organic  food 
that  keeps  our  existences  healthy  and  there¬ 
fore  active,  our  minds  also  require  a  food 
to  keep  our  intellects  active  and  healthy. 
Education. 

The  photoplay  has  by  now — as  we  all  very 
well,  know — reached  such  a  state  of  perfection 
that  nothing  practically  seems  impossible  tor 
it  to  exploit  and  bring  to  the  notice  of  the 
public.  Subjects  having  an  idea  or  a  senti¬ 
ment  to  express  and  convey  to  the  mind  of 
the  community  at  large  were  never  ’so  well 
conditioned  to  do  so  than  through  the 
medium  of  the  screen.  Witnessing  it,  seeing 
how  it  unfolds  from  beginning  to  climax  on 
the  screen,  the  audience  follows  its  thrills 
and  emotional  power's  with  interest  if  it  ap¬ 
peals  to  them,  with  bothered  uncomfort  and 
animosity  if  it  does  not. 

To  please  consists  in  presenting  it  in  such 
a  way  that  it  convinces  by  its  naturalness, 
thus  attracting  interest  and  attention,  and 
consequently  it  remains  more  impressed  in 
the  minds  of  those  witnessing  it  than  arti¬ 
ficially  presenting  them  with  themes  which 
they  feel  in  their  minds  are  artificial,  from 
which  they  obtain  an  artificial  sensation  as 
soon  forgotten  as  the  image  has  disappeared 
from  their  radius  of  visualisation. 

Now,  what  are  the  most  appropriate  sub¬ 
jects  to  be  presented  to  the  judgment  of 
audiences?  There  is  where  our  minds  should 
drift  to.  Study  the  methods,  the  subject- 
matter  which  we  could  adopt  from  Nature, 
from  Life,  subjects  that  would  appeal  to 
humankind,  and  these  subjects  should  aim  at 
its  betterment. 

Nearly  all  London  has  by  now  defiled  past 
the  pay-offices  of  the  Palace  Theatre  to  have 
a  peep  at  the  “  Four  Horsemen  of  the 
Apocalypse.”  That  same  London  went  to 
the  Scala  to  see  the  “  Orphans  of  the 
Storm.”  They  went  attracted  by  the  pub¬ 
licity  lavished  on  these  films,  and  people  have 
been  to  see  these  films  who  otherwise  prefer 
to  go  to  a  theatre. 

So  the  films,  to  my  mind,  have  a  better 
scope  of  activities  than  merely  entertainment. 
In  them  it  could  be  compounded  wisely  en¬ 
tertainment  with  education.  Not  one-sided 
propaganda  as  in  the  “  Four  Horsemen  of 
the  Apocalypse.”  Films  as  those  are  far, 

1  agree,  from  the  basic  fact  of  humankind, 
yet  more  from  the  basic  fact  of  any  other 
industry  and  sentiment. 

What  the  people  want,  what  we  ought  to 
give  to  the  people,  is  something  more  sub¬ 
stantial  than  entertaining  subject-matter.  Put 
in  front  of  their  eyes  the  evils  of  humankind 
and  teach  them  how  to  get  rid  of  them,  teach 
them — and  in  a  pleasing  way — how  to  be 
better  to  one  another.  The  aim  of  Art — real 
Art,  wholesome,  truthful  Art — would  then  be 
largely  attained. 


And  there  is  no  highbrow  in  it,  nor 
politics.  There  is  only  one  problem — a  vital 
one — which  is  to  teach  our  neighbour  to  be 
good  if  our  own  self  is  good,  but  if  intelli¬ 
gently  and  consciously  we  feel  that  we  are 
bad,  let  us  break  our  pens  and  throw  them 
to  the  dustbin  and  seek  a  teacher  who  might 
improve  the  standards  of  our  sentiments  and 
natures  by  sound  education.  That  is  what 
for  films  should  be. — Laughs  and  Tears. 

A  Wasted 
Correction 

Mr.  Speaker, — On  page  12  of  The 
Motion  Picture  Studio  of  November  4  I 
notice  a  paragraph  to  the  effect  that  the 
Topical  Budget  pulled  off  rather  a  good 
“  scoop  ”  with  its  pictures  of  the  Roumanian 
Coronation. 

Whilst  not  wishing  to  minimise  in  any 
way  the  performance  of  the  operator  or  the 
enterprise  of  the  Topical  Budget  in  getting 
these  pictures,  I  would  like  to  point  out  that 
the  claim,  to  say  the  least  of  it,  is  a  little 
exaggerated,  in  view  of  the  fact  that  the 
most  comprehensive  pictures  of  the  Rou¬ 
manian  Coronation  appeared  in  the  Gau- 
mont  Graphic. 

We  are  always  glad  to  acknowledge  the 
smart  work  of  our  competitors,  but:  we  our¬ 
selves  are  always  very  careful  to  inform 
ourselves  as  to  the  efforts  of  the  other  news 
films  before  we  make  claims  for  “  scoops.” 
The  most  the  Topical  Budget  can  claim  for 
its  Roumanian  Coronation  pictures  is  that 
they  were  “  half  a  scoop,”  and  even  that  is 
a  generous  claim.' — For  the  Gaumont  Co., 
Ltd. — R.  E.  Dearing. 

Editor’s  Note. — Gaumont  seems  to  have 
tried  an  old  debating  trick — denying  a  state¬ 
ment  that  was  never  made.  The  actual 
v/ords  used  were:  “While  on  the  subject  of 
scoops  I  must  not  overlook  the  Topical 
Budget,  which  succeeded  in  getting  some  of 
the  very  few  moving  pictures  of  the  Rou¬ 
manian  Coronation.” 

Intelligent 

Picturegoers 

Mr.  Speaker, — The  article,  “  What  Are 
Films  For?  ”  seems  to  me  to  be  a  rather 
unfair  and  sweeping  judgment  on  the  aver¬ 
age  public  who  patronises  the  kinerna, 
ascribing  to  them  a  shallow  and  unprogres¬ 
sive  mentality.  It  surely  would  be  disas¬ 
trous  to  the  film  Industry  if  all  directors  of 
pictures  fostered  such  ideas  and  had  so  poor 
an  estimation  of  the  true  wants  of  the  plea¬ 
sure-seekers. 

That  “we  do  not  pay  out  money  to  the 
box-office  for  an  improving  homily,”  ant 
that  the  kinerna  public  “  is  not  high¬ 
brow,”  is  surely  an  exaggeration,  and  only 
true  of  a  very  small  section.  To  be  ever¬ 
lastingly  “entertained-”  would  have  the 
inevitable  result  that  the  practice  of  alwaj7s 
stuffing  a  boy  with  sugar-plums  and  toffeQ 
whenever  he  asked  for  them  had :  he 
had  so  much  that  his  desire  was  turned  to 
disgust  and  loathing.  In.  nearly  every  indi¬ 
vidual  of  this  generation  of — shall  I  say? — 
reactionary  and  progressive  thought  there 
is  either  the  realised  or  sub-conscious  desire 
for  something  idealistic,  wholesome  and  in¬ 
structive  to  be  presented  to  him  or  her  in  the 
most  entertaining  and  convincing  way. 

Mho  does  -not  delight  in  the  charm  and 
realism  of  those  Nature  study  pictures? — - 
not  to  mention  a  few  of  the  grand,  Empire¬ 
building  travel  films  of  Africa,  the  Far  East, 
etc.  ?  I  have  heard  many  say  they  would 
gladly  see  such-and-such  a  picture  again. 

Are  not  most  of  us  sick  to  death  and  tired 
of  those  inevitable  “tense  dramas,”  reek- 

( Continued  on  page  7.) 


8 


November  ii,  1922 


THE  MOTION  PICTURE  STUDIO 


ZoAbA&  €Ajz//  -asm  ■a/ncl 

toAcCt  &UU(  -ctAe.  -clovrvq 


Eva  Llewellyn  is  playing  for  Beehive  in 
“Lonesome  Farm.” 

Hugh  Miller  has  completed  work  in  “The 
Letter  ”  for  Quality. 

George  Grafton  is  playing  for  Stoll  in 
“The  Sign  of  Four.” 

George  Dewhurst  is  directing  the  new 
series  of  comedies  for  Beehive. 

Maurice  Elvey  has  commenced  work  on 
“The  Sign  of  Four”  for  Stoll. 

Peggy  Hopkin  is  playing  for  Beehive  in 
the  new  production  “  The  Doubles.” 

Miriam  Murray  has  been  taking  a  small 
part  in  “  The  Prodigal  Son  ”  for  Stoll. 

Simeon  Stuart  has  completed  his  part  for 
Grahame  Wilcox  in  “Flames  of  Passion.” 

Mary  Mackintosh  has  been  playing  the 
part  of  Pirto  in  “Amy  Robsart  ”  for  B.  and 


Thomas  Bentley  is  completing  “Green 
Sea  Island”  for  Ideal. 

Donald  Searle  has  been  playing  in  “Lone¬ 
some  Farm  ”  for  Beehive. 

Beatrix  Templeton  has  been  playing  for 
Ideal  in  “The  Harbour  Lights.” 

Johnny  Butt  is  appearing  as  the  Sergeant- 
Major  in  “The  Monkey’s  Paw  ”  for  Artistic. 

Lydia  Hayward  is  responsible  for  the 
scenario  of  “The  Monkey’s  Paw,”  the  new 
Artistic  film 

Harold  French,  after  an  absence  of  two 
years,  is  returning  to  the  screen  to  play 
in  “The  Hypocrites”  for  Hollandia  (Jay’s 
booking). 

Marie  Ault,  who  for  some  time  has  been 
'playing  in  “East  of  Suez  ”  has  been  se¬ 
cured  by  Artistic  to  play  Mrs.  White  in 
“The  Monkey’s  Paw.” 


Arthur  Walcott  has  been  appearing  in  one 
of  the  leading  roles  for  Beehive  in  “The 
Doubles.” 


Jimmy  Reardon  is  playing  the  male  lead 
in*“ Lonesome  Farm”  and  “The  Doubles” 
for  Beehive. 


H.  Humberstone  Wright  has  been 
specially  engaged  by  Maurice  Elvey  to  play 
Dr.  Sholto  in  “The  Sign  of  Four”  for 
Stoll. 

Malcolm  Tod  has  completed  work  for 
Welsh-Pearson  in  “The  Romany,”  and  ex¬ 
pects  to  commence  .work  irv  another  film 
very  shortly.  V 

V 


Geoffrey  Benstead 


A  new  producing’  concern  has  made 
its  appearance  under  the  title  of 
Beehive  Productions,  and  is  now1  very 
busily  engaged  on  its  first  output.  It 
has  secured  the  services  of  George 
Dewhurst  as  director,  and  he  i,s  now 
working-  on  the  first  tw'o  comedies. 
Geoffrey  Benstead  is  manager  of  pro¬ 
ductions  and  will  also  star  in  the  five- 
reeler  now  being-  prepared  called  “The 
Decision.”  This  starring1  vehicle  will 
give  Benstead  an  opportunity  to  dis¬ 
play  his  natural  abilities  as  horseman, 
nstead,  by  the  way,  has  lately  been 
biffing-,  with  marked  success,  in  the 
rely  commercial  side  of  the  busi¬ 
ness,  and  has  negotiated  the  sale  of 
several  good  feature  films. 


George  Dewhurst 


Leighton  Potter  is  with  Beehive  in  “The 
Doubles.” 

Bert  Darley  has  been  appearing  in  one  of 
the  new  Beehive  comedies. 

Hal  Martin  will  be  seen  in  the  new  Bee¬ 
hive  comedy,  “The  Doubles.” 

Maurice  Hopkins  is  playing  in  “This 
Freedom,”  Zeitlin’s  bookings. 

Olive  Sloane  has  been  playing  in  the  new 
Beehive  film,  “Lonesome  Farm.” 

John  Stuart  is  playing  for  Ideal  in  “This 
Freedom,”  Zeitlin’s  booking. 

Bert  Ford  is  engaged  as  cameraman  to 
British  Productions  of  Hove. 

Christopher  Goulding  will  be  in  charge  of 
Frank  Zeitlin’s  publicity  department. 

Charles  Ashton  has  secured  the  role  of  the 
Son  in  “The  Monkey’s  Paw,”  the  new 
W.  W.  Jacobs  Artistic  film. 

Clive  Brook  is  playing  lead  in  Ideal’s 
production,  “This  Freedom,”  booked 
through  Frank  Zeitlin. 

Margaret  Hope  has  been  co-starring  with 
Jimmy  Reardon  in  “The  Doubles”  and 
“Lonesome  Farm  ”  for  Beehive. 

Lydia  Hayward  and  Manning  Haynes  are 
respons;ble  for  the  scenario  of  “The 
Monkey’s  Paw,”  the  new  Artistic  film. 

Fred  Raines  has  completed  his  part  in 
the  new  Progress  film,  “Facing  Fearful 
Odds,”  which  has  been  made  in  Shoreham. 

Harvey  Braban  lias  been  booked  for 
Africa  to  play  lead  in  I.V.T.A.  production, 
“Reef  of  Stars,”  through  Frank  Zeitlin. 


Henderson  Bland 


9 


THE  MOTION  PICTURE  STUDIO 


November  ii,  1922 


F  A  C  I  N 
FOR 

How  Britain  Leads  the 


G  DEATH 
FILMS 

World  for  Kinematograph  Exploits 


In  one  particular  instance  at  least  this 
country  has  beaten  the  American  film  world, 
and  that  is  in  connection  with  the  kinemato¬ 
graph  record  of  the  world-flight  which  Major 
Blake,  Captain  Macmillan,  and  Geoffrey 
Malins  recently  attempted.  The  him  of  the 
•light  is  now  being  titled  and  edited,  and 
will  make  an  entrancing  photo-story  of  8,009 
feet. 

Geoffrey  Malins,  who  was  in  charge  of  the 
cinematographic  side  of  the  expedition,  is,  of 
course,  the  well-known  director  and  was  the 
official  kinematographer  of  tire  Great  War. 
4nd  he  does  not  hesitate  to  admit  that  some 
of  his  experiences  during  the  flight  were  as 
dangerous  and  as  perilous  as  during  the  war. 
In  fact,  a  mere  recital  of  some  of  the  inci¬ 
dents  provides  a  dramatic  story  of  great 
power  and  interest. 

Take  the  matter  of  flying  across  Vesuvius. 
The  volcano  was  belching  forth  dense  sul¬ 
phuric  smoke  of  intense  heat,  bul  the  in¬ 
trepid  kine-explorers  decided  to  dash  through 
this  and  as  near  to  the  crater  as  possible. 
Malins  adjusted  his  aeroscope  camera  and 
turned  on  the  wonderful  scene.  So  soon  as 
they  reached  the  extreme  lip  of  the  crater 
they  became  conscious  of  the  potency  of  the 
fumes,  but  a  second  later  they  were  in  the 
thick  of  the  smoke.  This  was  so  dense  that 
they  were  enveloped  in  a  blanket  of  jet  black¬ 
ness — they  could  only  forge  straight  ahead 


and  hope  for  the  best.  The  smoke  was  over 
a  mile  in  extent. 

It  was  during  the  flight  that  Geoffrey 
Malins  discovered  a  new  “suspense-valve” 
stunt  that  would  make  D.  W.  Griffith — the 
Suspense  King — green  with  envy.  It  appears 
that  out  in  the  East  the  sun  sinks  with 
abrupt  rapidity,  and  there  is  no  twilight.  So 
soon  ns  the  sun  dips  below  the  horizon  line 
the  darkness  of  midnight  has  set  in.  The 
flying  men  were  over  the  open  sea  and  witn 
80  miles  to  go  to  the  coast  the  sun  was  fast 
setting.  Then  ensued  a  race  witli  the  sun. 
If  the  sun  sank  before  they  made  the  shore 
the  ’plane  would  have  to  descend,  and1  only 
the  God  of  Fate  knew  where  that  would  bo¬ 
or  the  consequences 

The  neck-to-neck  race  that  followed,  ending 
in  the  ’plane  just  reaching  the  shores  of  the 
Persian  Gulf,  would  make  a  novel  crisis  for 
a  photoplay. 

And,  also  the  finale  of  the  flight  could 
also  be  included  in  a  film  with  good  effect 
They  had  been  forced  to  descend  on  to  the 
ocean,  and  owing  to  some  unforeseen  occur¬ 
rence  they  found  that  the  ’plane  began  to 
list  to  starboard.  Just  over  the  hori¬ 
zon  line  was  the  smoke  of  a  steamer,  and 
Malins  was  given  the  job  of  endeavouring  to 
attract  its  attention  with  Verey  lights. 

The  list  became  so  acute  that  Malins  had 


to  climb  on  to  the  tip  of  the  port  wing  to 
correct  the  balance.  But  still  the  list  con¬ 
tinued,  and  then  it  was  ascertained  beyond 
any  shadow  of  a  doubt  that  the  ’plane  was 
capsizing— or  at  best,  turning  turtle.  And 
the  Verey  lights  were  giving  out ! 

The  dramatic  moment  was  when  the  list 
had  reached  extremis ;  the  port  wing  was 
upright  in  the  air — the  starboard  wing  up¬ 
right  in  the  water.  Just  at  the  moment  of 
it.  turning  turtle  Malins  fired  the  last  Verey 
light,  with  no  result. 

Tlie  ’plane  settled  down  well  on  the  sur¬ 
face  of  the  water  and  all  the  two  men  could 
do  was  to  sit  on  the  boards — about  eight  feet 
long  and  half  as  wide,  ridged  every  four 
inches  with  battens  of  wood.  The  only 
break  to  the  unutterable  monotony  and  physi¬ 
cal  pain  was  the  angry  snaps  of  the  .sharks 
and  the  vicious  spit  of  the  poisonous  sea- 
snakes  which  infested  the  water.  For  three, 
days  and"  two  nights  they  sac  with  no  food 
or  water,  until  a  launch  that  had  been  sent 
out  to  search  for  them  picked  them  up. 

It  can  readily  he  imagined  that  the  kine- 
matographic  record  of  such  a  flight  will  cause 
a  sensation,  and  we  await  with  considerable 
interest  a  view  of  this  unique  film,  and  con¬ 
tent  ourselves  with,  congratulating  the  in¬ 
trepid  explorers  on  their  remarkable  escapes 
from  death. 


ALL  COMMUNICATIONS  TO  BE  ADDRESSED  TO  THE  FIRM  AND  NOT  TO  INDIVIDUALS. 


London  OSActs  ■ 

S  &  7.  Piccadilly  Mansions, 
Shaftesbury  Avenue,  W.  I. 
Telephone :  OBiMURn  3812- 


Makers  Films,  Ltd. 


STUOfO  4  won  KB: 


Telephone : 
KINGSTON  ieiT, 
Telegram)  ( 

“  Film*.  Weir^Koa*©,  To«UHn*lon.' 


‘fithir  (rH'ouse, 

ii  fill  room  o/load, 

TEDDINGTON. 

10th  August  1322. 


Ernest  S.Allighsu,  Ssq., 
The  Motion  Picture  Studio, 
•93  long  Acre  f.C.2. 


Bear  Sir, 


Acknowledging  yoUrs  of  the  9th  Inst.,  X  desire 
to  say  that  X  consistently  cake  use  of  the  MohiOf*  Picture 
Studio  when  casting.  I i  I  was  art  artist  I  would,  certainly 
keep  a  small  advartiseiaent  running  through  your  paper.  X 
personally  would  like  to  e;a  more  artists  using  your  space 
tinder  the  heading  of  "‘wHD'S  WHSHS”. 

Faithfully  four a, 


HAS  7ms  t’HMS  MB, 


(H.B.farkinson) 
Managing  Director. 


This  letter  dots  not  constitute  an  Engagement  or  a  Contract. 


SUBSCRIPTION 
ORDER  FORM. 

To  The  Manager, 

'‘MOTION  PICTURE  STUDIO.” 
93,  Long  Acre,  London  W.C.2. 


SUBSCRIPTION 
RATES : 

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post  Wee- 


Please  send  me  a  copy  of  the  “Motion 


Picture  Studio”  weekly  for .  ...months 

from  issue  of . for  which  I 

enclose  remittance. 


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Address  (to  where  copies  are  to  be  sent)  . — 


Date 


10 


November  ii,  1922 


THE  MOTION  PICTURE  STUDIO 


SCREEN  VALUES 

"A  Maid  of  the  Silver  Sea." 

George  Clark— Directed  by  Guy  Newall— 
Starring  Ivy  Duke  and  Guy 
Newall — Supported  by  A.  Bromley 
Davenport,  Cameron  Carr,  Charles 
Emery,  Percy  Morrish,  Winifred 
Sadler,  Marie  Gerald,  Charles  Wood, 
Norman  Loring  and  Lilian  Cavanagh 
—Photographed  by  Hal  Young. 

/CONSIDERING  the  high  standard  of 
previous  George  Clark  pictures,  it  is 
disappointing  to  find  this  company  turning 
cut  a  picture  of  this  kind,  which  can 
only  be  described  as  mediocre,  and  which 
possesses  very  few  redeeming  points. 

technically,  it  is  much  below  the  standard 
of  some  of  the  British  films  we  have  wit¬ 
nessed  recently.  The  picture  is  full  of 
defects,  and  is  not  at  all  well  directed.  It 
is  almost  impossible  for  the  film  to  hold  the 
interest,  for  the  story  is  told  by  the  sub¬ 
titles  only. 

ihe  acting  is  not  even  good,  but  it  is 
obvious  that  this  is  not  due  to  the  players’ 
inability  to  act,  but  to  the  bad  handling 
they  have  received  at  the  hands,  of  the 
director.  Most  of  the  artistes  are  well 
known  on  the  screen,  and  have  already 
proved  themselves  very  fine  actors  in  pre¬ 
vious  productions. 

Guy  Newall  has  not  a  very  colourful  role, 
but  makes  the  best  of  the  opportunities  it 
offers. 

Ivy  Duke  is  very  effective  at  times,  but 
on  the  whole  her  performance  is  not  up  to 
the  high  standard  that  one  would  expect 
from  her. 

It  would  be  hardly  fair  to  criticise  the 
supporting  cast,  as  it  seems  to  have  been 
badly  handled. 

The  scenario  is  not  well  written,  and  the 
film  bears  but  slight  resemblance  to  the 
original  story.  The  climax  has,  not  been 
properly  handled. 

Ihe  photography  by  Hal  Young  appears 
to  be  very  ordinary  and  not  at  all  in  keep¬ 
ing  with  some  of  the  previous  George  Clark 
successes,  in  which  the  photographic  work 
has  been  one  of  the  outstanding  points.  The 
1  rade  show  print  of  this  film  was  bad,  how¬ 
ever,  and  it  is  difficult,  therefore,  to  judge 
the  camerawork. 

SUMMARY  : 

Direction  :  Uninspired. 

Leads  :  Very  ordinary. 

Supports  :  Badly  handled. 

Literary  :  Scenario  not  well  written. 

Lighting  :  Suitable. 

Interiors  :  Adequate. 

Exteriors  :  Well  chosen. 


SCENARIO  BUREAU 

^HE  Scenarists  who  have  under¬ 
taken  to  criticise  scenarios  wish 
to  apologise  to  those  authors  who 
have  sent  in  work  for  criticism,  but 
it  has  not  been  possible,  owing  to 
pressure  of  work,  to  deal  with  the 
MSS.  satisfactorily  this  week.  A 
large  number  of  them  were  sent  in, 
much  of  the  work  of  such  an  in¬ 
teresting  nature  that  it  was  felt 
impossible  to  give  adequate  help  to 
the  authors  unless  a  great  deal  of 
time,  care,  and  attention  were  given 
up  to  it.  From  next  week  the  MSS. 
will  be  dealt  with  in  rotation. 


TEDDY  ARUNDELL 


rpiIIS  week  the  'second  death  notice 
appeared  on  the  board  at  the 
Kinema  Club,  and  this  time  it  was  to 
announce  the  death  of  Teddy  Ar undell, 
who  died  on  Sunday  last  from  heart 
failure.  He  has  for  many  years  been 
connected  with  Daly’s  Theatre,  and  was 
playing  in  “The  Lady  of  the  Rose  ”  the 
evening  before  his  death. 

He  has  appeared  in  many  film  plays, 
and  was  on  the  Stoll  stock  company  for 
a  number  of  years  and  played  in  many 
Ideal  successes. 

One  of  Arundell’s  best  friends  in  the 
film  profession  was  Fred  Raines,  who 
writes  the  following  appreciation:  — 

“  I  have  known  Teddy  Arundell  close  on 
fourteen  years,  and  during  that  time  have 
never  known  him  guilty  of  a  despicable 
action.  Wherever  he  went  he  was  always 
liked  because  of  his  genial  manner  and  gocd 
nature.  Many  a  time  Teddy  has  told  me  how 
he  ran  away  from  heme  and  joined  .a  circus. 
From  circus  work  he  took  to  the  stage,  and 
also  appeared  in  Opera.  His  first  film  appear¬ 
ance  was  in  a  comedy,  and  his  first  appear¬ 
ance  in  a  serious  film  role  was  in  ‘  The 
Lyons  Mail.’  He  was  for  many  years  asso¬ 
ciated  with  Daly’s,  and  was  playing  there 
until  his  death.  Teddy  was  one  of  those  very 
tare  specimens  who  would  go  out  of  his  way 
to  do  anyone  a  good  turn.  He  will  be  greaJy 
missed  by  both  the  stage  and  the  screen  pro¬ 
fessions,  in  which  he  has  many  friends.” 

Writing  of  Arundell,  Jeffrey  Bernerd, 
managing  director  of  the  Stoll  Film  Co., 
I  td.,  says  :  — 

“I  was  profoundly  grieved  to  hear  of  the 
death  of  Teddy  Arundell.  He  was  one  of  the 
most  lovable  men — a  big  fellow  in  every  sense 
of  the  word ;  and  he  had  the  biggest  and 
most  infectious  laugh  it  has  ever  been  my 
joy  to  encounter. 

1  Tie  was  probably  the  most  versatile  actor 
the  British  screen  has  known  ;  practically  no 
kind  of  character  came  amiss  to  him.  He 
played,  I  believe,  in  over  forty  Stoll  produc¬ 
tions,  and  he  was  excellent  in  every  one  of 
ihem.  Added  to  this,  he  was  one  of  the  very 
few  players  engaged  by  us  who  took  a  per¬ 
sonal  interest  in  the  head-office  organisation, 
and  was  always  a  very  welcome  visitor  at  the 
functions  which  followed  our  conferences. 

“Always  on  the  best  of  terms  with  all  the 
members  of  the  staff,  he  was  liked  by  them 
a:;  a  man  as  much  as  he  was  admired  by  them 
as  an  actor. 

“  He  called  me  the  ‘  Old  Govnor  ’  and 
‘  Guv,’  and  when  he  invaded  my  room  his 
twinkling  eyes,  broad  grin  and  jovial  manner 
were  as  good  as  a  tonic  to  me.  Many  a  time 
he  has  come  to  me  with  his  little  tales  of 
woe,  and  he  told  them  so  humorously  that  I 
didn’t  know  whether  they  were  true  or  in¬ 
vented,  but  fell  an  easy  prey  to  his  wiles,  so 
thaL  he  was  invariably  successful  in  wheed¬ 
ling  a  contract  out  of  me  for  a  further  term. 

“  ‘  Teddy,’  as  everyone  called  him.  was 
practically  the  only  ‘  stock  ’  actor  Stoll  ever 
had.  and  he  made  his  first  appearance  in  the 
very  first  picture  we  made— the  story  of 
‘  Comradeship  ’ — which  I  myself  adapted  for 
the  screen.  His  part  in  that  film  was  one  of 
the  most  successful  he  ever  filled. 

“  I  feel  a  very  great  sense  of  personal  loss 
at  his  death,  and  I  am  sure  that  my  feeling  is 
shared  by  the  whole  of  the  Stoll  organisa¬ 
tion.” 


WE  LEAD 

/NUTTINGS  from  the  foreign  Press  are 
just  beginning  to  arrive  with  refer¬ 
ence  to  our  recent  British  Propaganda 
Number.  We  give  below  extracts  from  an 
article  in  the  French  Le  Cinema. 

“  In  my  last  article  I  endeavoured  to 
draw  the  attention  of  our  metteurs  eft 
scene  to  the  progress  realised  by  English 
producers.  I  pointed  out  that  we  should 
have  to  watch  carefully  the  advance  of  the 
English  film,  which  is  a  very  real  thing. 
I  will  not  cease  from  my  campaign  until 
this  is  fully  understood,  and  1  cannot 
better  make  myself  understood  than  by 
putting  before  the  eyes  of  our  kinemato- 
graphers  those  facts,  which  speak  better 
than  words.  I  repeat,  England  has  aroused 
itself  from  its  lethargy,  a  lethargy  which  is 
quite  natural  if  one  allows  for  the  fact  that 
this  country  did  not  really  begin  to  pro¬ 
duce  until  after  the  war. 

“  She  was  helped  by  her  financiers  and 
by  the  people  who  were  endowed  with 
goodwill,  and  she  was  also  helped  by  the 
journalists  and  those  collaborators  who 
were  a  valuable  support  to  the  Industry. 

“  The  Motion  Picture  Studio,  a  paper 
which  officially  represents  the  English  film 
Industry,  has  undertaken  to  carry  on  the 
propaganda  in  America.  A  special  number 
of  this  paper  has  just  appeared,  well  pro¬ 
duced,  varied  in  contents,  and  containing 
articles  which  will  certainly  be  read  and 
remarked  upon  in  the  United  States. 

“  This  review,  extremely  interesting 
throughout,  has  quickly  placed  itself  in 
the  first  rank  of  film  papers  in  the  United 
Kingdom. 

“  The  special  number  will  be  distributed 
to  all  the  importers  of  films  from  America, 
and  to  all  the  journals,  papers  and  reviews 
there.  To  help  this  propaganda,  The 
Motion  Picture  Studio  has  announced 
that  any  of  the  articles  in  its  special 
number  may  be  reproduced  without  special 
application  to  the  editor.  One  will  readily 
understand  that  this  number  only  con¬ 
tains  propaganda  articles. 

“  This  may  suffice  to  let  it  be  under¬ 
stood  how  a  big  movement  is  preparing 
to  sell  British  films  abroad,  and  by  this, 
of  course,  the  United  States  is  meant. 

“  What  have  we  done  over  here  to  make 
our  wares  known  in  President  Harding’s 
country  ?  Nothing,  or  less  than  nothing. 
We  have  made  landmarks  with  our  pro¬ 
ductions — very  beautiful,  admittedly — but 
nothing  more.  We  are  waiting,  and  it  is 
while  waiting  that  we  are  being  caught 
up  by  others,  and  we  shall  soon  find- our 
Industry  crying  out  against  the  American 
importers  and  our  own  journalists.  Only 
too  often  we  think  that  our  writers  are 
merely  filling  space,  because  the  news¬ 
paper  must  appear,  but  this  is  wrong.  It 
is  for  us  to  light  the  way,  to  inform  and 
to  guide.  If  our  readers  will  not  listen 
to  us,  whose  fault  is  it?  It  will  soon  be 
seen  that  our  forecasts  have  been  justified 
by  the  results,  and  that  the  English 
Industry  will  not  fail  to  reap  the  reward 
of  this  propaganda.  We  repeat,  and  we 
are  in  a  position  to  know,  that  England 
has  made  rapid  progress,  that  slowly  she 
has  succeeded  in  classing  herself  among 
the  leading  producing  countries.  Many 
English  films  will  soon  be  seen  over 
here,  and  people  will  be  surprised.” 

Readers  will  appreciate  the  significance 
of  all  the  foregoing.  It  really  means  that 
if  the  British  Industry  will  follow  the  lead 
that  The  Motion  Picture  Studio  gives  week 
by  week,  if  it  will  show  enterprise,  courage 
and  clear  vision,  it  can  “  scoop  the  pool 
beat  all  competitors  in  the  film  world. 


II 


THE  MOTION  PICTURE  STUDIO 


November  ii,  1922 


CAMERAMEN’S  SECTION 

News  and  Views 

and 

Record  of  Activities  of  K  i  n  e  -  C  a  m  e  r  a  m  e  n 


THE  CAMERA  AND  THE  STORY 


IN  the  making  of  a  film  much  is  expected  from  the  cameraman,  for  a  great 
A  deal  of  the  responsibility  rests  upon  his  shoulders.  If  the  film  is  to  be  success¬ 
ful  the  photography  must  be  good,  but  it  should  not  rest  at  that.  There  are 
many  cameramen  who  can  take  good  pictures,  but  who  cannot  demand  big 
salaries  purely  and  simply  because  they  are  merely  cameramen  of  the  “  skilled- 
mechanic  ”  type,  who  know  everything  there  is  to  know  about  photography  and 
everything  appertaining  thereto,  and  yet  who  cannot  make  a  successful  picture. 
The  reason  for  this  is  obvious  :  they  do  not  study  the  story  and  have  their  photo¬ 
graphy  in  keeping  with  it. 

A  picture  which  is  quite  sharp  and  correctly  lighted  is  all  they  think  necessary, 
and  the  same  lighting  suffices  for  the  death-bed  scene,  the  marriage  scene  or  the 
ballroom  set.  Their  photography  should  be  in  harmony  with  the  story  and  the 
incident  which  they  are  filming.  It  is  as  necessary  to  have  photography  that  is 
in  keeping  with  the  incident  that  is  being  photographed  as  it  is  to  have  music  in 
keeping  with  the  film.  A  good  director  who  thoroughly  understands  his  business 
dresses  his  artistes  and  set  according  to  the  particular  incident  being  shot.  A 
death-bed  scene  could  easily  be  spoilt  if  the  hero  appeared  in  a  loud  check  suit. 
The  players  should  be  dressed  in  dark-coloured  clothes  to  get  the  proper  effect, 
and  in  the  same  way  bright  colours  are  used  for  scenes  which  depict  gaiety.  What 
is  the  use  of  the  artistes  dressing  according  to  the  scene  when  the  cameraman 
turns  on  all  the  lights  and  spoils  the  whole  effect  ?  A  cameraman  can  get  some 
wonderful  effects  if  he  tries,  and  can  greatly  assist  the  director,  but  he  must  get 
away  from  the  idea  that  he  is  only  a  mechanic  and  remember  that  a  real  camera¬ 
man  should  be  an  artist. 


K.C.S.  OFFICIAL  NEWS 

f  AST  week’s  meeting  wa.s  not  .veil 
attended,  although  it  was  certainly 
one  of  the  most  interesting  that  has  been 
held  for  some  weeks. 

Tracy  Mathewson,  chief  cameraman  of 
Kinograms,  New  York,  was  introduced  to 
the  members. 

J.  Dennis  gave  a  report  on  the  experi¬ 
ments  he  had  carried  out  with  the  dyes 
which  were  entrusted  to  him  at  the  last 
meeting.  A  discussion  then  took  place  on 
the  subject  of  dyes,  and  Mr.  Dennis  was 
questioned  as  the  qualities  of  the  dyes  he 
had  tried  out.  Samples  of  film  on  'which 
these  dyes  were  used  were  passed  round, 
and  members  were  allowed  to  discuss  the 
subject  fully.  As  can  easily  be  imagined, 
some  very  interesting  talk  took  place  on 
the  subject  of  dyes,  and  gradually  worked 
round  to  the  matter  of  English  printing 
firms. 

It  was  said  that  there  were  many  firms 
who  were  spoiling  negatives  simply  because 
they  were  employing  inexperienced  boys  to 
do  the  work  of  skilled  men,  and  were  pay- 
ln£  these  boys  ridiculously  low  wages 

The  meeting  closed  after  further  discus¬ 
sions  had  taken  place. 


HERE  AND  THERE 

Quite  recently  when  Lady  Guggisberg, 
wife  of  the  Governor  of  the  Gold  Coast, 
left  Ashanti  for  home,  the  women  of  that 
country  gave  into  her  keeping  a  silver  stool 
for  presentation  from  them  to  Princess 
Mary  Viscount  Lascelles. 

Lady  Guggisberg  passed  on  the  gift  to  the 
Princess  at  Chesterfield  House.  Not  only 
were  the  Pathe  cameramen  on  the  spot 
when  the  presentation  was  made,  but  were 
also  successful  in  securing  pictures  of  the 
ceremony  in  far  Ashanti,  when  the  gift 
was  first  handed  to  Lady  Guggisberg  by 
Annua  Sewa  Akoto,  the  Senior  Queen 
Mother.  The  result  appears  in  Patlie 
Gazette,  and  is  of  an  extremely  interesting 
character. 

The  silver  stool  is  an  exact  replica  of 
the  Ashanti  Queen  Mother’s  stool.  Accom¬ 
panying  the  stool  was  a  printed  document 
in  which  information  is  given  concerning 
the  old  mothers  of  Africa. 


CAMERAMEN 
AT  WORK 

JA hOM  New  York  comes  Tracy  Mathewson, 
who  is  chief  cameraman  of  Kinograms. 
He  is  over  here  representing  that  company, 
and  will  lemain  in  England  for  quite  a 
number  of  months.  This  is  not  his  first  trip 
to  England,  for  he  was  over  here  last  year. 

A1  Moise  has  returned  from  Torquay, 
where  he  has  been  filming  “  Open  Country  ” 
for  Stoll.  Moise  is  to  film  the  “  Sherlock 
Holmes  Series  ’’  for  Stoll,  but,  as  Eille  Nor¬ 
wood,  the  star  of  the  series,  is  at  the 
moment  plaving  for  Elvey,  it  seems  probable 
that  some  weeks  will  elapse  before  a  start 
is  made  on  this  series.  Meanwhile,  Moise 
and  Sinclair  Hill — who  is  directing  “Open 
Country,”  are  getting  on  very  nicely  to¬ 
gether,  and  the  former  tells  us  that  he  has 
secured  some  fine  shots  of  Torquay  and 
district. 

Last  week’s  Topical  Budget  contained 
specially  posed  photographs  of  the  Prime 
Minister  and  his  Cabinet  when  at  No.  io, 
Downing  Street.  This  certainly  points  out 
that  the  kinerna  is  at  last  coming  into  its 
own,  for  when  no  less  a  person  than  the 
Prime  Minister  of  England  agrees  to  allow 
movie  men  and  their  lamps  into  No.  io,  and 
then  agrees  to  allow  himself  and  his  Cabinet 
to  Ibe  filmed,  it  shows  that  the  Premier  re¬ 
gards  the  film  as  a  thing  of  very  great 
importance. 

Amongst  the  Kine-Cameramen’s  Society’s 
members  are  specialists  in  every  branch  of 
the  photographic  art.  An  instance  of  this  is 
J  Dennis,  who  knows  everything  there  is 
to  be  known  about  dye  toning.  The  other 
week  .some  new  dyes  were  brought  up  to 
the  Society  meeting,  and  it  was  suggested 
that  some  of  them  might  be  useful  for  photo¬ 
graphic  purposes.  Dennis  agreed  to  take  the 
dyes  home  and  to  experiment  with  them. 
The  result  is  that  he  has  discovered  a  num¬ 
ber  of  new  tints  which  can  be  used  for  films, 
and  which,  from  the  commercial  and  every 
other  point  of  view,  are  quite  practicable 
for  use  on  kine  films. 

Gustave  Pauli  has  joined  up  with  the  Bee¬ 
hive  Producing  Co.,  and  is  filming  comedies 
for  that  company.  Already  he  has  been  re¬ 
sponsible  tor  the  camera  work  in  “  Lonesome 
Farm”  and  “The  Doubles,”  two  of  the 
company’s  productions.  George  Dewhurst  is 
directing  these  films.  Dewhurst  and  Pauli 
have  already  worked  together,  their  last  film 
i  being  “A  Sister  to  Assist  ’Er.” 


CAMERAMEN  NEED  PUBLICITY 

1  hey  should  do  what  their 
American  colleagues  do — 

advertise  themselves 


12 


November  ii,  1922 


THE  MOTION  PICTURE  STUDIO 


POLITICS  AND  THE 

KINEMA 

by  CHRISTABEL  LOWNDES-YATES 


CLUB  CLATTER 

by  CLATTER  BOX 

FJMIERE  will  be  a  big  attendance  at  the 
Club  this  (Saturday)  evening,  when 
a  fancy  dress  dance  and  a  dinner  will  be 
held  to  celebrate  the  fourth  anniversary 
of  the  signing'  of  the  Armistice.  All 
tickets  are  being  reserved  in  advance. 
Members’  tickets  for  the  dinner  and 
dance  are  5s.  6d.,  while  guests’  tickets 
will  cost  7 s.  6d. ,  or  for  the  dance  only 
3s.  6d.  Evening  dress  is  optional.  1 
understand  that  the  revelry  will  be  carried 
on  until  some  unearthly  hour  in  the 
morning,  and  that,  providing  everything 
goes  off  according  to  schedule,  it  will  be 
a  very  merry  gathering. 

The  club  band  appears  to  be  a  very 
intricate  organisation.  I  have  walked  into 
the  club  at  various  times,  and  one  time 
find  Donald  Searle  playing  the  drum, 
another  time  it  is  Tiny  Maitt,  while 
on  other  occasions  it  is  Malcolm  Tod. 
I  decided  to  investigate,  and  as  a  result 
of  extensive  inquiries  it  seems  that  Tod 
is  the  jazz  drummer,  and  that  Searle  and 
Maitt  are  acting  as  relief  drummers 
when  the  occasion  arises. 

Have  you  paid  your  2 s.  6d.  entrance  fee 
for  the  Billiard  Room  Competition  yet? 
If  not  you  would  be  well  advised  to  keep 
out  of  sight  of  Tony  Eraser.  Tony  is 
most  enthusiastic  about  it,  and  is  spend¬ 
ing  most  of  his  time  collecting  half-crowns 
for  it.  The  money  will  go  towards  buving 
the  club  another  billiard  table.  There  is 
a  number  of  prizes,  including  bottlesi 
of  whisky,  free  theatre  and  dinner  seats, 
five-guinea  hats  for  lames,  two  hair-page 
advertisements  in  the  Kine.  Year  Book, 
and  six  quarter-page  insertions  in  The 
Motion  Picture  Studio.  It  will  be 
poetic  justice  if  I  draw  the  latter! 

The  new  chairman  of  the  House  Com¬ 
mittee  is  A.  Harding  Steerman.  With  his 
ripe  experience  of  the  Actors’  Association 
Council,  of  which  he  is  now  Acting  Chair¬ 
man,  Mr.  Steerman  is  an  ideal  choice  to 
continue  the  skilled  chairmanship  that 
Ered  Groves  initiated  in  this  particular 
committee. 


PASSED 

HE  British  Board  of  Film  Censors  has, 
during  the  past  few  days  passed  the 
following  British  films:  — 

“  Eleventh  Hour,  The  ”  (Stoll),  “  U.” 
“Expiation  ”  (Stoll),  “  A.” 

“Great  Terror”  (B.  and  C.),  “  U.” 

“  Last  King  of  Wales,  The  ”  (B.  and  C.), 
“  U.” 

“Missioner,  The”  (Stoll).  “U.” 

“  Pages  of  Life  ”  (Butcher),  “  U.” 

“  Romance  of  Wastdale,  The  ”  (Stoll), 

<  (  ^  n 

“  Running  Water  ”  (Stoll),  “  U.” 

“  Sister  to  Assist  ’Er,  A”  (Gaumont), 
“  A.” 

“  Unwanted  Bride,  The  ”  (B.  and  C.), 
“  U.” 

“  White  Hope,  The  ”  (Butcher),  “  U.” 
Films  marked  “  U  ”  are  for  universal 
exhibition,  and  those  marked  “  A  ”  are  re¬ 
commended  for  adults  only. 


We  print  the  following  article  not  be¬ 
cause  we  agree  or  disagree  with  the 
views  of  the  writer ,  but  because  we  feel 
that  the  Trade  should  come  to  some 
definite  policy  with  regard  to  the  present 
Election. 


FJ^HERE  are  still  some  people  who  seem 
to  think  that  what  happens  on  the 
fifteenth  of  this  month  cannot  possibly 
reallv  affect  their  lives,  but  I  venture  to 
say  that  there  is  no  one  in  this  country 


VOTE  FOR— 
—  YOURSELF  ! 

Those  whose  livelihood  de¬ 
pends  on  Film  Trade  should 
vote  for  those  who  will  assist 
the  Industry.  Without 
taking  any  sides  in  the  pre¬ 
sent  election  we  feel  that  it 
ought  to  be  put  on  record 
that  the  only  party  that  has 
pledged  itself  to  remove  the 
crip  ding  Entertainment  Tax 
and  has  made  this  a  plank  in 
its  official  platform  is  the 
LABOUR  PARTY. 

USE  YOUR  VOTE 


whose  affairs  will  not  be  considerably 
affected  during  the  next  few  years  by  the 
policy  of  the  new  Government — whatever 
it  is.  I  will  go  further  and  say  that  of 
all  Trades  now  flourishing  (or  otherwise) 
in  this  country,  none  are  out  to  benefit 
more  by  a  sane  and  wise  Government 
policy  than  the  film  Trade. 

Every  exhibitor  knows  what  effect  the 
Entertainment  Tax  has  had  in  crippling 
their  side  of  the  business,  and  every 
director  knows  how  difficult — no,  more, 
how  almost  impossible — it  is  to  attract 
capital  for  fresh  concerns,  partly  owing 
to  high  taxation  having  made  capital  a 
scarce  commodity,  and  driving  the  in¬ 
vestor  to  send  his  money  abroad  for  safety. 
Those  points  are  only  introduced  to  show- 
how  vitally  Government  legislation  in  this 
country — whether  it  is  good  or  bad — does 
affect  the  lives  of  rich  and  poor  alike.  If 
we  are  honest,  there  are  few  of  us  who 
would  not  admit  that  w'hat  has  brought 
about  the  slump  in  Trade,  and  the  dis¬ 
tress  and  unemployment  among  the 
artistes  at  the  present  time,  is  not  so 
much  the  war  as  bad  legislation. 

It  is  easy  to  win  cheap  popularity  from 
an  election  platform  bv  promising  every 
section  of  the  public  to  spend  large  sums 
of  the  taxpayers’  money  on  them  in  order 
to  secure  their  votes.  Once  the  votes  are 
obtained,  it  is  still  easier  to  forget  to 


carry  out  impossible  promises  that  should 
never  have  been  made. 

The  two  most  vital  needs  for  the  kinenia 
'Trade  at  the  present  time  are  capital— 
which  can  be  got  when  reduced  taxation 
makes  it  possible  for  people  to  have 
money  to  invest — and  an  increase  of 
markets  for  our  productions  when  thev 
are  made. 

Does  Mr.  Bonar  Law  and  his  Govern¬ 
ment  realise  that  there  is  one  great  am¬ 
bassador  for  all  Trades — Films — that  are 
ready  now  to  go  into  all  countries,  all 
over  the  world,  and  tell  business  people 
and .  others  British  stories  and  show 
Biitish  ideals,  and  display  our  national 
character  ? 

Films  and  the  influence  they  wield  are _ 

if  the  politician  would  only  understand  it _ - 

one  of  the  most  important  emissaries  in 
the  world  to-day.  America  knows  that, 
and  her  goods  go  where  her  films  have 
gone — all  over  the  world. 

I  have  written  in  The  Motion  Picture 
Studio  and  elsewhere  on  the  question  of 
propaganda  films,  but  in  one  sense  all 
hi  ms  are  propaganda  films,  because  they 
give  a  definite  picture  of  their  country 
and  their  national  ideals.  Let  us  make 
friends— through  the  screen  pictures— 
with  our  brothers  and  sisters  overseas. 
Let  the  I  rade  Congresses  and  Conferences 
and  all  the  rest  of  them  take  place,  and 
let  us  see  that  the  film  Trade  is  well  and 
truly  represented  at  all  such  meetings. 

An  African  millionaire,  in  'trade,  said  to 
me  not  long  ago,  “We  never  have  British 
films  in  South  Africa.  I  do  not  know 
what  they’re  like.  I’ve  never  seen  them.” 
1  he  other  day  an  Australian  public 
woman,  over  in  this  country,  said  to  me, 
“I  did  not  know  you  produced  films  over 
here.  I  love  films.  Where  can  I  see  a 
British  picture?” 

I  have  it  on  good  authority  that  if  our 
films_  here  could  be  put  out ’all  over  the 
Empire,  the  Trade  could  at  once  employ 
three  times  the  number  of  people  employed 
at  present.  Think  what  that  would 
mean  to  some  of  the  fine  artistes  who  are 
at  present  out  of  work  through  no  fault 
of  their  own.  Think,  too,  that  there 
would  be  enough  money  in  the  Industry 
then  to  make  our  clever  hard-working 
artistes  into  the  world-wide  stars  they 
deserve  to  be.  The  star  system  cost’s 
money,  and  that  money  is  not  forth¬ 
coming  in  our  Industry  to-day,  largely  be¬ 
cause  of  bad  business  legislation  by  the 
late  Government. 

Let  everyone  who  reads  this  go  into  the 
matter  for  themselves,  and  record  their 
vote  for  whichever  side  they  honestlv  be¬ 
lieve  will  help  the  film  Industry  as  a 
whole.  I  have  heard,  naturally,  a  lot  of 
talk  about  the  bad  times.  Now  you  have 
each  one  of  you  got  a  chance  to  do  some¬ 
thing  to  better  things.  It’s  a  straight  fight, 
and  a  clean  one.  The  issue  is  perfectly 
clear, 


13 


THE  MOTION  PICTURE  STUDIO 


November  ii,  1922 


COMPLETE  LIST  OF  ALL  THE  BRITISH  STUDIOS,  TOGETHER 
WITH  ADDRESSES,  TELEPHONE  NUMBERS, 


Adelqui  Millar  Productions. 

Address  :  1,  Leinster  Square,  W.2. 

Albert- Phillips  Film  Production- 

Address  :  3,  Wardour  Street,  W.  1- 
PnoNE  :  Regent  3282. 

Film  :  “  Fatty’s  Overtime.” 
Director  :  Edward  D.  Roberts. 
Star  :  Fatty  Phillips  and  Athalie 
Davis. 

Scenarist  :  Muriel  Alleyne  and 
Christabel  Lowndes-Yates. 
Cameraman  :  Frank  Canhani. 

Stage  :  Scheduled. 

Alliance  Film  Co. 

Studio  :  St.  Margaret’s,  Twicken¬ 
ham. 

Phone  :  Richmond  1945. 

Route  :  Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s.  Fare  : 
1st,  2s.  OR,  3rd,  Is.  0£d.  ;  R.T., 
1st  3s.  Id.,  3rd  2s.  Id. 

From  Waterloo  :  A.m.,  every 
10  minutes  ;  from  St.  Margaret’s 
every  10  minutes. 

Artistic  Films,  Ltd. 

Address  :  93-95,  Wardour  Street, 

W.  1. 

Phone  :  Gerrard  3210. 

Film  :  “  The  Monkey’s  Paw.” 
Director  :  Manning  Haynes. 
Scenarist  :  Lydia  Hayward. 
Cameraman  :  Frank  Grainger. 
Stage  :  First  week. 

Atlas  Biocraft. 

Address  :  16,  Albemarle  St.,  W. 
Gen.  Manager  :  Miles  Mander. 
Film  :  “  The  Man  without  Desire.” 
Director  :  Adrian  Brunei. 

Star  :  Ivor  Novello. 

Cameraman  :  Harry  Harris. 
Scenarist  :  Frank  Fowell. 

Stage  :  Fifth  week. 

Barkers. 

Address  :  Ealing  Green,  London, 
W.  5. 

Phone  :  Ealing  211  and  1582. 
Route  :  C.L.R.  Tube  to  Ealing. 
Being  used  by  Beehive. 

B  &  C.  Productions. 

Address  :  Hoe  St.,  Walthamstow. 
Phone  :  Walthamstow  364  and  712. 
Route  :  Bus  38.  Tram  81  to 
Bakers’  Arms.  G.E.R.,  Liver¬ 
pool  Street  to  Hoe  Street. 
Fare  :  1st  Is.  2d.,  2nd  lOJd., 
3rd  7d.  R.T.,  1st  Is.  9d.,  2nd 

Is.  4d.,  3rd  10|d. 

From  L.S.  :  A.m.  7.58,  then 
every  few  minutes  until  p.m., 
9.5,  9.20,  9.35,  9.50,  10.5,  10.20, 

10.35,  10.50,  11.5,  11.20,  11.35, 

11.50,  12.5,  12.35  midnight. 

Hoe  Street  to  L.S.  :  A.m.,  7.53, 

8.2,  8.8,  then  every  few  minutes  ; 
p.m.,  8.20,  8.35,  8.50,  9.6,  9.20, 

9.35,  9.49,  10.6,  10.20,  10.36, 

10.50,  11.6,  11.20,  11.35,  12.2. 
Film  :  Historial  Incidents. 

Type  :  One  reelers. 

Stage  :  One  a  fortnight, 

Earon  Films. 

Address:  95,  St.  Martin’s  Lane, 
W  C.2 


Beehive  Production. 

Studio  :  Barkers,  Ealing. 

’Phone:  Ealing  1582. 

Manager  :  G.  Benstead. 

Film  :  Comedies. 

Director  :  George  Dewhurst. 
Assistant  Director:  Horace 

Corbyn. 

Scenarist  :  Percy  Manton. 

Stars  :  Jimmy  Reardon  and  Mar¬ 
garet  Hope. 

Cameraman  :  G.  Pauli. 

Stage  :  Second  week. 

British  Famous  Films. 

Address  :  “  Woodlands,”  High 

Road,  Whetstone. 

Phone  :  Finchley  1297. 

Studio  Vacant. 

British  and  Oriental. 

Address  :  B.  P.  Studios,  Thornton 
House,  Thornton  Road,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Studio  being  used  by  Quality  Films. 

British  Photoplays 

Address  :  Devon  Chambers,  28, 
Fleet  Street,  Torquay. 

Not  Working. 

British  Productions. 

Address  :  Selborne  Road,  Hove. 
Film  :  Historial  Subjects. 
Director  :  Lieut.  Daring. 
Cameraman  :  Bert  Ford. 

British  Super  Films. 

Address  :  Worton  Hall,  Isleworth. 
Phone  :  Hounslow  212. 

Route  :  Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met-.). 


From  Waterloo  to  Isleworth. 
Fare  :  1st  Is.  O^d.,  3rd  9d.  ; 
R.T.,  1st  Is.  9d.,  3rd  Is.  6d.  ; 

а. m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 
past  each  hour  until  11.51  p.m. 
Extra  trains,  4.43,  5.13,  5.43, 

б. 13,  6.43,  7.13. 

Isleworth  to  Waterloo  :  8.33, 

8.44,  9.3,  9.14,  9.33,  9.44,  10.14, 

10.44.  Same  minutes  past  every 

hour  until  10.44,  11.14  p.m. 

Extra  trains  5.30,  6.0,  6.30. 

Film:  “The  Hotel  Mouse.” 

Stage  :  First  week. 


Film  :  Super  production. 

Stage  :  Scheduled. 

Daisy  Productions. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson 

Address  :  Lea  Bridge  Road,  E.  10. 
Phone  :  Walthamstow  634. 

Route  :  Bus  Nos.  35  and  38. 
Trams  81,  55,  57. 

G.E.R.  from  Liverpool  Street 
to  Lea  Bridge  Road.  Fares  : 
1st  Is.  2d.,  2nd  10Jd.,  3rd  7d. 
R.T.,  1st  Is.  9d,,  2nd  Is.  4d., 
3rd  lOJd.  A.m.,  10.34 ;  p.m., 
1.50,  3.5,  4.37,  6.27,  8.5. 

Lea  Bridge  to  Liverpool  Street : 
A.m.,  8.26  ;  p.m.,  1.4,  5.27,  5.54, 
6.29,  7.7,  8.4,  8.57,  10.4. 

Film  :  “  Weavers  of  Fortune.” 
Director  :  Arthur  Rooke. 

Star  :  Henry  Vibart. 

Cameraman  :  Leslie  Eveliegh. 
Stage  :  Cutting  and  assembling. 


F.  P.-Lasky. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
and  then  tram  No.  11. 

Studio  being  used  by  Grahame 
Cutts. 

Gaumont. 

Studio  :  L'rne  Grove,  Shepherd’s 
Bush,  W.12. 

Phone  :  Hammersmith  2090-1-2. 
Route  :  Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station 

Film  :  “  The  Scientist.” 

Director  :  Capt.  Calvert. 

Stars  :  Marjorie  Hume  and  David 
Hawthorne. 

Cameraman  :  Basil  Emmott. 
Scenarist  :  Alicia  Ramsay. 

Stage  :  Cutting  and  assembling. 

Glen  Film  Productions. 

Address  :  20,  Lisle  Street,  W.C. 
Studio  :  “  Belgrave,”  Marine 

Terrace,  Aberystwyth. 

Not  working. 

George  uiark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 

Phone  :  Museum  3012. 

Film  :  “  Maid  of  the  Silver  Sea.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Cameraman  :  Hal  Young. 

Stage  :  Completed. 

Film  :  “  The  Starlit  Garden.” 

Stage  :  Casting. 

Grahame  Wilcox  Productions. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
then  tram  No.  11. 

Film  :  “  Paddy  the  Next  Best 

Thing.” 

Director  :  Grahame  Cutts. 

Star  :  Mae  Marsh. 

Cameraman  :  Rene  Guessart. 
Scenarist  :  Elliot  Stannard. 

Stage  :  Cutting  and  assembling. 

Film  :  Not  announced. 

Director  :  Grahame  Cutts. 
Stage  :  Starting  shortly. 

Cranger-Binger. 

Address  :  191,  Wardour  St.,  W.  1. 
Phone  :  Gerrard  1081  and  1728. 
Studios:  Haarlem,  Holland. 

Film  :  “  The  Hypocrites.” 

Star  :  Wyndham  Standing. 
Stage  :  Second  week. 

Granville  Productions. 

Address  :  Windsor  Studios,  Brom 
ley  Road,  Catford. 

Phone  :  Lee  Green  948. 

Film  :  "  Hennessey  of  Moresby.” 
Stage  :  Starting  shortly. 

Hardy. 

Address:  13,  Gerrard  St.,  W.l. 

Harma  Clarendon. 

Address  :  1 6,  Limes  Road,  Croydon 
Phone  :  Croydon  921  and  2084. 
Film  :  “  Little  Cuckoo  Flower.” 

.  Stage  :  Nearing  completion. 


WE  CAN  DELIVER  FROM  STOCK 

The  Columbia  12  in.  by  2  in-  Silver-tipped 
Carbons  for  Wohl  and  other  Studio  Lamps. 

Recommended  by  Wohl  s  as  the  only  suitable  Carbon 
for  their  Lamps. 

UNITED  KINGDOM  PHOTOPLAYS,  Ltd 

29a,  CHARING  CROSS  ROAD,  W.C  2. 

’Phone  :  Gerrard  8742. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


u 


'Phone 


DEBRIE 


99 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W.  i 


14 


N  OVEMBER  II,  1922 


THE  MOTION  PICTURE  STUDIO 


FULL  PARTICULARS  OF  CURRENT  PRODUCTIONS,  ROUTES 
AND  FARES  FOR  REACHING  THE  STUDIOS 


Hepworth  Picture  Plays, 

Address:  Walton-on-Thames. 
Phone  :  Walton  16. 

Route  :  From  Waterloo.  Fare : 
1st  4s.  ll^d.,  3rd  2s.  6d.  ;  R.T., 
1st  7s.,  3rd  4s.  4£d. 

From  Waterloo :  A.m.,  7.0, 

8.0,  9.20,  10.20,  11.20;  p.m., 

12.20,  1.20.  2.20,  3.20,  4.20,  4.54, 
5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  8.20,  8.55,  9.20,  10.20, 
11.34. 

From  Walton  :  A.m.  7.59,  8.29, 
8.41.,  8.56,  9.9,  9.46,  10.10,  11.10. 
p.m.,  12.10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44,  6.10.  7.10,  8.10,  9.10, 

10.10,  10.35,  11.34. 

Productions  scheduled  but  not 

announced. 

Ideal 

Address  :  Boreham  Woods,  Elstree, 
Herts. 

Phone  :  Elstree  52. 

Route  :  Trains  from  St.  Pancras. 
Fare  :  1st  2s.  lid.,  3rd  Is.  9|d.  ; 
R.T.,  double  fare.  A.m.,  7.30, 
8.0,  8.50,  9.55,  10.45,  11.48; 
p.m.,  12.33,  1.13,  2.35,  3.55,  4.45, 
5.12,  6.2,  6.45,  6.50,  7.20,  8.8, 
9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras : 
9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.3,  3.56,  4.56,  5.29,  6.18,  6.55, 
7.36,  8.54,  10.14,  11.3. 

Studio  Manager  :  F.  A.  Kendrick* 
Art  Director:  J.  T.  Garside. 

Film  :  Greensea  Island.” 
Director  :  Thomas  Bentley. 

Stars  :  Flora  Le  Breton  and  Clive 
Brook. 

Stage  :  Cutting  and  assembling. 

Film  :  “  This  Freedom.” 

Director  :  Denison  Clift. 

Star:  Fay  Compton. 

Scenarist  :  Denison  Clift. 

Stage  :  Preparing  Scenario. 


Film  :  “  Harbour  Lights.” 

Director  :  Tom  Terriss. 
Star  :  Tom  Moore. 
Cameraman  :  W.  Shenton. 
Stage  :  Ninth  week. 


Film  :  Not  titled. 
Director  :  Frank  Crane. 
Stage  :  Starting. 


Film  :  “  Out  to  Win.” 
Director  :  Denison  Clift. 
Stage  :  Scheduled. 


Film  :  “  Mary  Queen  of  Scots.” 
Director  :  Denison  Clift. 

Stage  :  Scheduled. 

International  Artists. 

Address:  52,  Shaftesbury  Av.W.  I  < 
Phone  :  6338. 

FrLM  :  “  God’s  Prodigal.” 

Star  :  Donald  Crisp. 

Cameraman  :  C.  McDowell. 

Isle  of  Man  Films. 

Address  :  The  Manx  Studios, 
Isle  of  Man. 

Not  working. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington. 

Phone  :  Kingston  1617. 

Route  :  From  Waterloo  to  Tedding¬ 
ton,  Fare  :  1st  2s.  7|d.,  3rd 
Is.  4d.  ;  R.T.,  1st  4s.  4ld.,  3rd 
2s.  8d.  From  Waterloo,  a.m., 
7.55.  Then  trains  every  few 
minutes  until  11.55  p.m.  From 
Teddington,  a.m.,  7.51.  Then 

trains  everv  few  minutes  until 
11.1,  11.16,11.51  p.m.  Bus  27. 

Film  :  “  The  Green  Caravan.” 
Director  :  E.  J.  Collins. 

Star  :  Catherine  Calvert. 
Cameraman  :  Theodore  Thumwood. 
Stage  :  Completed. 

Minerva  Films. 

Address  :  110,  Victoria  St.,  S.W  1. 
Phone  :  Victoria  7545. 

Not  working. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 

Phone  :  Shoreham  19. 

Film  :  “  Facing  Fearful  Odds.” 
Director  :  Wilfred  Noy. 

Star  :  Mavis  Clare. 

Cameraman  :  Stanley  Mumford. 
Stage  :  Cutting  and  assembling. 

Quality  Films. 

Address  :.  B.  P.  Studios,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Film  :  One  reelers. 

Director  :  George  A  Cooper. 
Stars  :  Sydney  Folker  and  Joan 
McLean. 

Studio  Manager  :  S.  Folker 
Cameraman  :  R.  Terreaneau. 
Stage  :  One  a  week. 

Raleigh  King  Productions. 

Address  :  Watcombe  Hall,  Tor¬ 
quay. 

Studio  :  Vacant. 


Regulus  Films. 

Address  :  48,  Carnaby  Street, 

Regent  Street,  W.l. 

Not  working. 

Seal  Productions. 

Address  :  171,  Wardour  Street. 

Phone  :  Regent  4329. 

Not  working. 

Screenplays. 

Address  :  Cranmer  Court,  Clapham 
Phone  :  Brixton  2956. 

Route  :  Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll. 

Address  :  Temple  Road,  Crickle- 
wood. 

Phone  :  Willesden  3293. 

Route  :  Bus  No.  16. 

Studio  Manager:  J.  Grossman 
Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart 
Rome  and  Edith  Bishop. 
Cameraman  :  D.  P.  Cooper. 
Stage  :  Fifteenth  week. 


Film:  “  Top  of  the  World.” 
Director  :  Maurice  Elvey. 
Stage  :  Scheduled. 


Film  :  “  Open  Country.” 

Director  :  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  David 
Hawthorne 

Cameraman  :  A1  Moire. 

Stage  :  Third  week. 


Film  :  “  Sherlock  Holmes.” 
Director  :  George  Ridgwell. 
Star  :  Eille  Norwood. 
Cameraman  :  A1  Moise. 
Stage  :  Starting  shortly. 


Film  :  “  The  Sign  of  Four.” 
Director  :  Maurice  Elvey. 
Star  :  Eille  Norwood. 
Camerman  :  Jack  Cox. 
Stage  :  Casting. 


Film:  “  The  Wandering  Jew.” 
Star  :  Matheson  Lang. 

Stage  :  Scheduled. 


Film  :  Not  announced. 
Director  :  Tom  Terris. 
Stage  :  Scheduled. 


J.  Stuart  Blackton. 

Address  :  Bush  House,  Aldwych. 
Phone  :  Central  1935. 

Film  :  “  The  Virgin  Queen.” 

Director  :  J.  Stuart  Blackton. 
Star  :  Lady  Diana  Manners. 
Cameraman  :  Nicholas  Musurca. 
Stage  :  Third  week. 

Torquay  &  Paignton  Photoplays 

Address  :  Public  Hall,  Paignton 
Not  working. 

Union  Films. 

Address  :  Strand  Street,  Liverpool 
Phone  :  Central  (Liverpool)  325 
Not  working. 

Walker  Boyd  Sunshine  Produc¬ 
tions. 

Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. 

Address  :  Princes  Studios,  Kew 
Bridge. 

Phone  :  Chiswick  574. 

Route  :  Bus  Nos.  27,  105. 

Broad  Street  to  Kew.  Fare  : 
1st  Is.  4d.,  3rd  9d.,  RT.,  1st 
2s.  0^d.,  3rd  Is.  4d.  A.m.,  8.2, 

8.20,  8.45,  9.0,  9.47,  10.17,  10  47, 

11.17,  11.47  ;  p.m.,  12.17,  12.47, 

1.17,  1.47,  2.17,  2.47,  3.17,  3.47, 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40, 
6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 
8.47,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street : 
A.m.,  9.40,  10.8,  10.38,  11.8, 
11.38;  p.m.,  12.8,  12.38,  1.8. 

1.38,  2.8,  2.38,  3.8,  3.38,  4,8,  4.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20, 

6.38,  7.8,  7.38,  8.8,  8.38,  9.8,  9.38, 
Film  :  “  The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Florence  Turner,  Kathleen 
Vaughan,  Norab  Swinburne,  Fred 
Wright,  and  James  Knight. 
Stage  :  Eighth  wreek. 

Welsh  Pearson, 

Address:  41-45,  Craven  Park, 
Harlesden,  N.W.  10. 

Phone  :  Willesden  2862. 

Route  :  Bus  No.  IS. 

Film:  “  The  Romany.” 

Star  :  Victor  McLaglen. 

Director  :  Martin  Thornton 
Cameraman  :  Percy  Strong. 

Stage  :  Cutting  and  assembling. 

Zodiac. 

Studio  :  Kingsbu^  Studios. 

Film  :  Walter  Forde  Comedy. 

Stage  :  Scheduled 


■  Phone  • 

RSGSNT  5253 


Cb.b/es& Gr&ms 

AMFCOLO.LONDOfl 


Quality  &  Service 

100%  FILM  100% 

Developersa  Printers 


89-91 

WARDOUR  ST 


LONDON, 

W.  I  . 


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HENRY 

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Printed  and  Published  by  ODHAMS  PRLSS  Ltd.,  Long  Acre,  Nov<  mber  1 1 ,  1923. 


THE  MOTION  PICTURE  STUDIO 


December  2,  1922 


ARTISTES 


ATHALIE  DAVIS 

Juvenile  Leads, 
Comedy  &  Emotional  Parts. 

Latest  Film  : 

“Hims  Ancient  and  Modern.” 

“The  Last  100  Yards.” 
Corns.  :  70,  Goldhurst  Ter¬ 
race,  Hampstead,  N.W.6. 
’Phone  :  Hampstead  4200. 


NOEL  GRAH4ME 

Heavy  Character  &  Comed3'. 
Heavy  lead  :  “  Bladys  of  the 
Stewponey,”  “Cost  dfa  Kiss,” 
“  Britain’s  Naval  Secret,”  etc. 
ii,  Clanricarde  Gardens, 

Hyde  Park,  W.2. 
Park  4514. 
and  Kinema  Club. 

Photo  bv  Nav  ina 


FLOR  NCE  INGRAM 

90a,  LEXHAM  GARDENS, 
KENSINGTON,  W.8 
West  4519. 

British  Super  Productions, 
Davidson  ;  Beacon  Films, 
Daisy  Productions,  “Mrs. 
Stanton”  second  lead  in 
“  Gypsy  Blood .” 


EVELYN  BRENT 

Latest  Productions, 

“  Demos,”  “  Sonia,” 

“ Laughter  and  Tears,”  etc. 
At  present.  Famous  P.-L. 

Bus.  Corns.,  Sidnevjay, 
Suite  13,  Palace  House, 
128-132,  Sh  iftesbury  Av.,  W.t 
Regent  4329. 


GORDON  HOPK1RK 

Leads -Ideal:  ‘Sybil,’  'Ernest 
Maltravers  ’  Direct:  ‘Four 
MeninaVan.’  Masters  :‘Fra 
Diavolo,"  Bride  of  Lammer- 
moor,’  ‘Faust,’  ‘  Maritana,’ 
‘Jane  Shore’  ‘Stella’: 
P  %  B  ‘Settled  in  Full.’ 
K.  &  C  :  ‘The  O ueen’s  Secret.’ 
Artistic:  ‘The  Skipper’s 

vVooing  ’  Address: 

School  House,  Tower  Street 


MARGARET 

HOPE, 

Character  &  Juvenile  Leads. 

Late  Ideal,  Masters,  Stolls, 
etc.,  etc. 

5,  Balcombe  Street, 
Dorset  Square,  N.VV.l. 
Padd.  7211. 

r*  jKi 

Igb.  ^  m  jjj 

•  :  mk 

GORDON  BEGG 

Dramatic — Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.ll, 

Telephone  :  Battersea  21. 

WARREN 

HASTINGS 

5,  POND  PLACE. 
CHELSEA 
S.W.3. 


ROSINA  WRIGHT. 

“Sister  Ursula”  in  “  Per- 
petua  Mary  ’  (Famous-Lasky) 
“  The  Nurse”  to  “The  Grass 
Orphan”  fldeal  Film). 
“Phillipa”  in  “Open  Country” 
(Stoll  Film). 

8  years  Film  experience. 

8a,  GOLDERS  WAY, 
GOLDERS  GREEN, N.W  11 
or  Kine-na  Cluh. 


F.  C  R  E  M  L  I  N  . 

Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club 


ARTISTE 


MELINDA  LLOYD 

Alliance,  The  Councillor’s 
Wife  in  “The  Card,”  Ideal, 
Samuelson,  Granville  Pro¬ 
ductions,  Laskys,  etc. 

24,  PARK  VIEW, 
WELLING,  KENT. 


GEORGE  KEENE 

Star  Lead.  Disengaged. 
Featuring—  “  Black  Sheep,” 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters,” 

“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 
Address  : 

121b,  Churcli  St.,  Croydon 
’Phone  :  Croydon  835. 


THELMA 

MURRAY 

Character  &  Emotional  parts 
Leads  for  Stoll,  Masters, 
Raleigh  King,  B  .  &  C.,  etc. 
All  corns  :  “LYNDALE.” 
OAKLEY  RD.. 
WHYTELEAFE,  SURREY, 
or  to  the  Kinema  Club. 


DOUGLAS  WEBSTER 

Juvenile  Character  Leads. 
Stage  Experience. 

Just  completed  “Leroy 
Lindsay”  in  “Shifting  Sands  ’ 
(Granville  Productions). 
All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
328-132,  Shaftesbury  Av. 
’Phone  :  Regent  4329. 


ADELINE  HAYDEN  COFFIN 

Sympathetic  Mother,  Grande  Dames. 
Character  Parts,  “  Mrs.  Gattv,”  in  “Christie 
Johnstone  ”  (Broadwest),  “  Margaret  Howe” 
in  “  Beside  the  Bonny  Brier  Bush  ”  (Lasky), 
“  Nanny  ”  in  “  Tell  your  Children  ’’  (Interna¬ 
tiona')  “Anna  ”  in  “  The  Prodigal  Son  ”  (Stoll). 

55.  Campden  St.,  Kensington.  W.8. 

Tel.  :  Park  3623. 

HUGH  MILLER 


6,  MILLMAN  ST., 
W.C.l. 


Telephone  : 
Gerrard  4432 


ARTHUR  PUSEY 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagcon”  for  I.V.T.A 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 

CHARACTER 
ACTOR. 

INVITES  GOOD  OFFER.  Plus  or  minus  all  or 
any  portion  of  NATURE’S  Beard  and  Moustache. 
Beard,  etc.,  NOW  in  the  rough. 

Stoll,  Blackton,  Fox,  The  Windsor,  etc. 
VARIED  STAGE  EXPERIENCE. 
Address  :  See  “Who’s  Where.’ 

’Phone :  Streatham  264. 


PAIGE 


CHARLES  LEVEY 

as  Captain  Gething  in  the  Artistic  Production, 
“  The  Skipper’s  Wooing.” 

At  present  playing  “  Earl  Paget”  in  the  J.  Stuart 
Blackton  Production  “The  Virgin  Queen.” 
Address : 

15,  STOKENCHURCH  ST.,  FULHAM,  S.W.6 

HETTY  C  H A  PM A  N 

Character  and  Comedy. 

18,  WYMER1NG  MANSIONS, 

MAIDA  VALE,  W. 


ARTIST  tL  S 


MILTON  ROSMER 

INVITES  OFFERS. 

16,  Weymouth  Street,  W.i.  ’Phone  :  Langham  2243 

MRS.  HUBERT  WILLIS, 

Character  and  Emotional  Parts. 

29,  St.  Peter's  Square,  W.6.  ’Phone  :  Hammersmith  85, 
or  Kinema  Club.  Regent  2131. 


MARIE  AULT, 

Character  and  Comedy. 

235,  King's  Road,  Chelsea. 

W  A  RREN  HASTINGS , 

5,  FOND  PLACE, 
CHELSEA,  S.W.3. 

INVITES  OFFERS. 

COSTUMIER.  .  .  . 

Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W. 

’Phone;  Gerrard  612. 


SCENARISTS  *  .  .  . 

GERALD  DE  BEAUREPAIRE. 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 

KINCHEN  WOOD, 

Late  Wm.  Fox  Studios,  Los  Angeles. 

7,  Wymering  Mansions,  Maida  Vale,  W.9 

JOHN  SALTER  E**fg£b0<‘ 

CAMERAS,  PROJECTORS, 

LOCAL  TOPICALS, 

13,  Featherstone  Buildings,  Holborn,  W.C  1. 
’Phone — Chancery  740  8. 


To  Kinema  Club  Members  and  others — 

PICTURE  POSTCARDS 
- SUP  PLIED - 

From  your  own  Photo,  in  best  glossy  style  :  — 

One  position,  per  gross  :  -  -  17/6 
Two  positions,  Half  gross  each  -  -  30/- 
Single  Dozen  -----  3/6 
Enlargements,  each  -  10/6 

Samples  can  be  seen  at 
1  HE  PICTURE  SALON, 

—  88,  Long  Acre,  W.2.  — 

JOSEPH  BARROS 

AT  LIBERTY. 

Past  three  years  assistant  to  Mr. 
George  Pearson  of  Welsh,  Pearson  & 
Co.,  Ltd. 

Experienced  in  Cutting,  Production 
Work,  etc.,  etc. 

All  communications; — 

66,  CRAVEN  PARK,  WILLESDEN,  N.W. 


2 


December  2,  1922 


The  motion  picture  studio 


CAMERAMEN.  .  .  . 


ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN— 

:  SCIENTIFIC  OUTFIT.  : 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  Street,  W.C.2. 
’Phone — Regent  2131. 


L.  G.  E  G  R  O  T 


<  ( 


EXPERT  CAMERAMAN. 

The  Better  ’Ole,”  etc.,  etc.,  . 
. “  The  Wonderful  Story.” 

Offices  and  Dark  Rooms  : 


2b,  Streatham  Place,  S.W.2. 

’Phone:  Streatham  3085. 


To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
SUPPLIED 


Fiom  your  own  Photo,  in  best  glossy  style  : — 


One  position,  per  gross . 17/6 

Two  positions,  Half  gross  of  eac  -  -  307- 

Single  dozen  -  - . 3/6 

En’argements,  each  ------  10/6 


Samples  can  be  seen  at 
THE  PICTURE  SALON, 
88,  Lomg  Acre,  W.C.2. 


Obtainable  from  all  Chemists 
and  Theatrical  Costumiers. 
Price  8d.  per  stick. 

If  any  difficulty  in  obtaining 
same  apply  direct  to 

Sole  British  Agents : 

VANITIES  LTD., 
15a,  Whitcomb  St. 

(Off  Leicester  Sq.), 

W.C.2 


GREASE 
PAINTS 

s  POWDERS 


WHO’S  WHERE. 


Several  directors  have  explained  to  us  ! 
ttie  difficulty  they  have  of  getting  quickly  ! 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 


“  rJ"HE  most  useful  column,  to  my  mind, 
and  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  i;  ‘Who’s 
Where.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.  ” — 
CHALLIS  N.  SANDERSON. 

T  PERSONALLY  would  like  to  see 
more  artistes  using  vour  space  under 
the  heading  of  ‘  Who’s  Where.’  ”  — 

H.  B.  PARKINSON. 
“  'T’HE  column  which  is  of  most  service 
to  us,  and  which  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  ”  — 
NORMAN  WALKER  (CaDt.),  Alliance  Filins. 


ATWOOD,  ALBAN :  25,  Stanley  Crescent, 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.n.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercorn  Place,  N.W. 
Hampstead  3083. 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.  1.  Mayfair  2344. 

CAREW,  JAMES,  15,  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3904 

CHESNEY,  ELIZABETH  :  c/o  Miss  Mcrris, 
25,  Clevedon  Gardens,  W.2.  (F,at  4). 
Padd.  5844. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
Redcliffe  Gardens,  S:W.  10.  ‘Phone: 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.  11.  Park  2077. 

ESMOND,  ANNIE ;  43,  Richmond  Road, 
Westboume  Grove,  W.2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

FANE,  DOROTHY  :  12A,  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 

GRACE,  ADELAIDE,  103,  Morshead 
M^nsiors,  Maida  Vale,  \Vr.  9. 

GRAFTON,  GEORGE  :  289,  Scott  Ellis 

Gardens.  St.  John’s  Wood,  N.W. 
Paddington  6928. 

GREGORY,  FRANK,  Character ,  107,  St. 
Alban's  Avenue.  W.4. 

HARRIS,  GEORGE,  33,  Torrington  Square, 
W.C.l. 

HASTINGS,  WARREN,  5,  Pond  Place, 
Chelsea,  S.W.3.  Western  7160. 

HOWARD,  LIOISELLE:  108,  Alderbrook 
Ro  id  Bi.ham,  S  W.  2. 

JONES,  S.  ARTHUR:  “  High  Ter,” 
Summer  Road,  Hampton  Court. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977. 


NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  ;  159,  Franciscan  Road, 
Tooting  S.W.  Streatham  264. 

PAXTON,  SYDNEY  :  28,  BedforJ  Place, 
Russell  Square,  VV. C.  Museum,  7.235. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell.  S.E.5. 

RAYNER,  MINNIE  :  Kingwater  Cottage, 
Church  Walk,  Thames  Ditton. 

RAYNOR,  ALBERT  E.,  “Strathmore,” 
Spencer  Road,  Chiswick,  W.4. 

ROME,  STEWART  :  10,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  32.  Lauderdile  Mans. 
Maida  Vale.  Maida  Vale  2177. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  15,  Grove 
Mansions,  North  Side,  Clapham  Com¬ 
mon  12  Latchmere  4343. 

STEERMAN  A.  HARDING  :  56  Portland 
Road.  W.11.  Park  2529. 

STERROLL,  GERTRUDE:  14.  Queen’s 
Road.  St.  John’s  Wood,  N.W. 8 

TEMPLETON,  BEATRIX:  20,  Foxglove 
Street,  Wormholt  Estate,  W.  12. 

THATCHER,  GEORGE:  33,  Denbigh 
Street,  Belgrave  Road,  S.W.  Victoria 
2060. 

TOD,  MALCOLM  :  25,  Bryanston  Street, 

W  1.  Mayfair  5063. 

TREE,  MADGE  :  15,  Lancaster  Court,  New¬ 
man  St.,  W.i.  Museum  7241. 

VIBART,  HENRY  :  24,  Cleveland  Road, 
Barnes,  S.W.13.  Putney  1945. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 
2131. 

WALCOTT,  ARTHUR:  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.  2.  Regent  2131. 

WILLIS,  HUBERT,  Mrs.,  29,  St.  Peter’s 
Square,  W.6.  Hammersmith  85. 

YORK,  CECIL  MORTON  :  Kinema  Club, 
9,  Great  Newport  Street.  Regent  2131. 

Two  lines ,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a  year,  prepaid. 

Extra  lines ,  is.  per  insertion. 


THIS  SPACE  TO  LET 
£2  10  0  for  13  insertions 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M’LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.I, 

’Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  2131. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 
NOW  BACK  IN  LONDON. 


3 


THE  MOTION  PICTURE  STUDIO 


December  2,  1922 


AT  LIBERTY 

T.  R.  THUMWOOD 


CAMERAMAN 


LATEST  WORK 


COCAINE 


MASTER 

ASTRA 

PRODUCTION 


KINE,  WEEKLY. — Photographically,  ihe  picture  is  well 
in  the  front  rank  of  British  productions. 

THE  STUDIO . — A  particularly  creditable  feature  is  the 
photography.  This  is  as  good  as  the  best  American. 


FAMOUS  POEMS  SERIES 

TENSE  MOMENTS  FROM 
FAMOUS  AUTHORS  SERIES 

A  GAMBLE  with  HEARTS 
THE  GREEN  CARAVAN 


MASTER 

W.  &  F.  !-  KINE.  WEEKLY. — Photography  excellent. 

PRODUCTION  J 


l 


MASTER 
B  E  F 

PRODUCTION 

MASTER 
W.  &  F. 
PRODUCTION 


J 


MASTER 
GRANGER  , 
PRODUCTION  J 


l 


THE  STUDIO. — Photography  of  a  high  standard. 


NOT  TRADE  SHOWN  YET. 


TRADE  SHOWN  THURSDAY,  NOV.  23. 


Ml  communications :  “  MORETON  HOUSE,”  MORETON  ROAD,  WORCESTER  PARK,  SURREY 


Miss  Mary  Clare 


“Mary  Clare,  as  Janet,  again  proves  that  she  is  a 
born  screen  actress,  and  that  before  long  she  will 
be  one  of  our  foremost  English  screen  artistes.” 

Motion  Picture  Studio,  Sept ■  2,  1922 — 
“  The  Gipsy  Cavalier." 

Solely  Represented  by 

The  SCREEN  &  STAGE  BOOKING  OFFICES. 
66,  Shaftesbury  Avenue,  W.l. 

REGENT  3499. 


WARWICK  WARD 

AT  LIBERTY 

3J,  Grove  End  Road,  N.W.  8 

Telephone: . Paddington  2409. 


4 


December  2,  1922 


Editorial  and 
Advertise¬ 
ment  Offices 
93.  Long  Acre, 
London,  W.C.2. 

Vol.  2  No.  78 


THE  MOTION  PICTURE  STUDIO 


Telegrams— 
Southernwood, 
Rand,  London 
Telephone — 
Gerrard  9870. 


Dec.  2,  1922 


I 


Unwary  and  Unwise. 

N  the  advertisement  columns  of  the 
London  daily  Press  last  week  ap¬ 
peared  :  Films.  Ladies  and  gentlemen 

required ;  all  types ;  various  parts ; 
London  productions  starting  immediately,” 
and  the  applicants  were  invited  to  write  to 
"  Producer  ”  at  an  address  in  High 
Holborn.  The  unwary  and  the  unwise 
would  imagine  from  this  that  the  adver¬ 
tiser — apparently  a  director — is  casting  for 
a  London  production  which  is  to  start 
immediately.  And  the  unwise  and  the 
unwary  wrote  to  “  Producer  ”  at  an 
address  in  High  Holborn.  The  reply 
revealed  the  fact  that  “  Producer  ”  is  an 
agent  who  informs  the  unwise  and  the 
unwary  that  he  has  nothing  to  offer  at 
the  moment,  but  will  enter  the  names  of 
the  unwise  and  the  unwary  on  his  register 
of  artistes.  For  all  we  know  to  the  con¬ 
trary  “  Producer  ”  may  be  an  absolutely 
bona  fide  agent,  but  his  method  of  adver¬ 
tising  lays  him  open  to  unpleasant  criticism. 
We  will  keep  our  keenest  optic  on  “  Pro¬ 
ducer  ”  and  hope  for  the  best.  He  seems 
to  be  the  sort  of  gentleman  whose  feet  the 
Film  Artistes’  Federation  would  gently 
guide  to  the  straight  and  narrow  pathway 
of  wise  and  unequivocal  advertising. 

*  *  * 

The  Agent  Evil. 

'T’HERE  are  many  variations  of  the 
agent  evil  that  need  the  limelight 
of  publicity ;  one  such  has  been  brought 
to  our  notice  this  week.  It  appears  that  a 
certain  artiste  was  secured  personally  by  a 
director  with  whom  he  has  been  on  inti¬ 
mate  terms  of  friendship  for  many  years, 
but  an  agent,  with  whom  the  artiste  has  no 
agreement,  is  now  dunning  him  for  com¬ 
mission  on  his  salary.  This,  we  know,  is 
not  an  isolated  case  :  it  is  typical.  The 
quandary  of  the  poor  artistes  as  a  rule 
(perhaps  not  in  this  particular  case)  is  that 
they  cannot  afford  to  quarrel  with  the 
agents ;  it  is  alleged  this  agent 
threatened  to  “  queer  ”  this  particular 
artiste  at  the  studios.  With  this  system 
obtaining,  it  appears  wiser  to  the  artistes  to 
pay  the  imposition.  Our  sympathies  are 
all  with  the  artistes.  They  are  among  the 
most  persecuted,  downtrodden  set  of 
human  beings  in  existence,  and  if  we  can 
champion  their  cause  in  any  way,  and 
fight  their  battles  for  them,  we  will  gladly 
do  so.  Our  pages  frequently  carry  the 
advertisements  of  agents,  and,  for  all  we 
know  to  the  contrary,  these  agents  appear 


to  be  running  their  businesses  on  perfectly 
straight  lines  ;  but  we  wish  to  declare  that 
we  are  not  at  all  influenced  by  our  adver¬ 
tisement  pages,  and  are  prepared  to 
champion  the  artistes  when  they  have 
Right  on  their  sides,  even  if  it  does  not  pay 
us  so  to  do.  Artistes  with  a  just  grievance 
can  write  to  us  in  perfect  confidence. 

*  *  * 

Functions  of  Agents. 

QN  the  agent  question  we  would  like  to 
revert  to  the  announcement  made 
in  our  last  issue  to  the  effect  that  Frank 
Zeitlin  is  instituting  a  publicity  depart¬ 
ment  in  connection  with  his  very  successful 
agency.  This  coincides  completely  with 
our  view  of  the  function  of  an  aerent.  It 


H  One  of  tke  platitudes  of 
the  day  is,  “Life  is  what 
you  make  it.”  And  it  is  ! 

It  all  depends  on  the 
mental  method  of  approach. 
If  you  view  circumstances 
gloomily  they  look  dull  and 
grey ;  if  you  put  on  the 
rose  -  coloured  spectacles 
they  appear  quite  inviting. 

II  Change  your  angle  of 
vision  —  life  changes  ac¬ 
cordingly. 


seems  a  very  shortsighted  policy  on  the 
part  of  agents  merely  to  book  artistes  : 
they  ought  to  exploit  them.  As  things  now 
stand  an  artiste  signs  a  contract  with  an 
agent  by  which  the  agent  solely  represents 
her  for,  say,  two  years,  during  which  time 
she  has  to  pay  the  agent  ten  per  cent,  com¬ 
mission  on  all  her  engagements.  This 
means,  very  often,  that  an  agent  gets  pay¬ 
ment  for  doing  nothing  ;  for  it  may  be  that 
the  artiste  will  negotiate  certain  engage¬ 
ments  direct.  We  consider  this  unfair. 
So  soon  as  an  agent  becomes  the  sole 
representative  of  an  artiste  he  should 
engage  in  a  publicity  campaign  to  exploit 
her.  Stories,  photographs  and  interviews 
should  be  sent  to  the  Press,  and  a  demand 
created  for  the  artiste’s  services.  This  is 


perfectly  fair  to  both,  because  the  more 
engagements  the  artiste  secures  the  more 
commission  the  agent  obtains.  It  is  for 
this  reason  that  we  congratulate  Frank 
Zeitl  in  on  the  institution  of  an  extensive 
publicity  service  at  his  offices,  and  add 
further  congratulations  on  having  secured 
the  unique  services  of  such  a  world-famous 
publicist  as  Edmund  Goulding. 

*  *  * 

Let  in  the  K.C.S. 

TT  is  good  to  know  that  the  Club  is  doing 
so  well.  The  new  billiard  table  is 
being  installed,  and  the  top  floor  (already 
the  most  successful  floor  in  the  building) 
will  be  well  worth  trudging  up  to.  The 
dining-room  is  highly  popular,  and  the 
catering  a  credit  to  all  concerned.  The 
Saturday  Night  “  hops  ”  have  no  equal  in 
any  Club  in  town— they  are  homely,  jolly 
family  affairs  well  worth  attending.  And 
now  we  learn  that  the  shop  and  basement 
below  are  being  acquired  by  the  Club. 
This  being  so,  we  venture  to  suggest  that 
the  time  has  come  when  the  Kine  Camera¬ 
men  s  Society  could  be  offered  a  home 
more  in  keeping  with  its  dignity  as  an 
important  branch  of  the  profession.  Our 
ideal — not  unduly  Utopian — is  to  see  all 
the  various  sections  of  the  producing 
industry  sheltered  under  the  one  roof : 
that  will  be  the  biggest  step  towards  unity 
and  co-operation  yet  attempted.  We  urged 
the  claims  of  the  K.C.S.  to  the  use  of  a 
room  for  its  Committee  meetings  when 
the  Club  was  being  opened  and  were  told 
that  there  was  no  accommodation  to  spare. 
However,  room  was  found  for  the  Directors 
Association,  the  members  of  which  do  not 
support  the  Club  with  the  same  loyalty 
and  generosity  that  the  cameramen  do. 
But  there  can  be  no  valid  excuse  for  re¬ 
fusing  temporary  accommodation  to  the 
Cameramen’s  Society  now  that  two  more 
floors  have  been  taken.  The  members  of 
the  K.C.S.  have  gamed  the  erroneous  im¬ 
pression  that  they  are  merely  tolerated  in 
the  Club  when  the  facts  are — or  ought  to 
be — that  these  men,  who  are  artists  and 
contribute  as  much  to  the  success  of 
British  productions  as  any  other  section, 
are  as  welcome  as  artistes  and  directors. 
Let  the  Cameramen’s  Society  find  a  home 
with  the  Directors’  Association  and  with 
the  artistes  in  the  Club.  Such  a  move 
would  engender  good  feeling  as  well  as 
have  a  beneficial  effect  on  the  quality  of 
our  native  productions. 


Every  Film  Artiste  should  sign  and  post  the  Form  on  Page  Six. 


5 


the  motion  picture  studio 


December  2,  1922 


ECONOMICS  AND  ART 

by  ERNEST  G.  ALLIGH AN 

- - -  "  — 


^NE  of  the  trite  remarks  of  the  day  is 
that  “  the  film  Industry  is  in  its 
infancy.’’  I  sometimes  think  that  that 
statement  is  made  to  cover  a  multitude 
of  sins  (of  omission  as  well  as  commission) 
for  which  otherwise  there  would  be  no 
excuse.  But  if  the  film  “Industry”— 
meaning  all  that  is  purely  commercial  in 
film  entertainment— is  in  its  infancy,  who 
can  locate  the  stage  of  growth  of  film  art  !1 
I  he  art  of  the  film  commenced  long  after 
the  film  “Industry”  began  to  get  into  the 
hands  of  the  Asiatics. 

There  are  some — cynics  and  idiots— who 
aver  that  there  is  no  art  in  kinemato- 
graphy.  I  hose  who  have  intelligence  to 
perceive  and  soul  to*  appreciate  have  long 
since  recognised  that  to  be  a  true  film 
artiste  one  must  be  an  artist  :  delicacy  of 
soul  ;  refinement  of  character ;  susceptible 
to  emotion  ;  sympathetic  insight  into 
human  nature.  These  qualities  make  the 
artist;  plus  technique  they  make  the 
artiste. 

All  of  which  goes  to  show  that  mind 
and  soul  are  anterior  to  gestures  and  make 
up.  But  to  regard  artistes  as  a  spiritual 
entity  only  is  to  take  a  lop-sided  view  of 
them.  Not  even  a  soulful  artiste  can  live, 
move  and  have  his  being  wholly  on  refined 
ideas  and  exalted  ideals. 

I  here  is  a  sense  in  which  matter  influ¬ 
ences  mind  :  only  a  statue  is  impervious 
to  cold,  and  statues  are  rotten  film  actors 
—that  is  why  an  artiste  cannot  create  the 
right  mental  atmosphere  for  a  passionate 
love-scene  in  the  ice-cold  climatic  atmo¬ 
sphere  of  some  studio*  dressing-rooms. 

Nor  can  the  leading  lady  be  expected  to* 
register  emotion  when  her  lunch  has  con¬ 
sisted  of  an  indigestible  tinned-meat  sand¬ 
wich  and  cold,  strong  tea. 

And  what  heart  is  there  left  in  an  artiste 
when  he  knows  that  the  dav’.s  work  1  n 
which  he  is  engaged  and  for  which  he  will 
have  to  pay  an  agent  ten  per  cent,  com¬ 
mission  will  be  followed  bv  a  lengthy 
period  of  resting? 

There  are  a  score  of  wavs  in  which  (he 
mundane  things  of  life  are  adversely  affect¬ 
ing  the  quality  of  film  art.  I  know  there 
is  a  sect  that  is  convinced  that  the  less 
food  that  a  man  eats  the  more  sensitively 
artistic  does  his  soul  become,  and  I  some¬ 


times  think  that  certain  studio  managers 
are  members  of  that  sect.  The  financial 
relation  of  the  film  artiste  to  the  studio* 
manager  is,  in  many  studios,  the  Indus¬ 
try’s  shame. 

These  questions  of  bread-and-butter 
economies,  in  my  opinion,  must  react  on 
the  standard  of  film  art  that  is  presented 
to  the  public.  My  attitude  o*n  these  mat¬ 
ters  is  well  known,  and  my  desire  for  the 
best  in  British  histrionics  is  generally 
recognised.  It  is  because  I  believe,  with 
every  authority  on  these  matters,  that  an 
artiste’s  physical  and  temporal  conditions 
affect  his  screen  artistry  that  I  am  a 
strong  advocate  of  the'  Film  Artistes’ 
section  of  the  Actors’  Association. 
Here  is  a  method1  by  which  the 
artiste’s  personal  status  can  be  improved. 
And  with  that  improvement  will  come — of 
this  I  am  absolutely  convinced — an  appre¬ 
ciable  advance  in  the  quality  of  British 
screen  art.  The  gnawing  anxiety  and 
carking  care  that  is  ever  haunting  the 
minds  of  film  artistes  and  impairing  the 
quality  *o*f  their  work  will  be  minimised, 
if  not  totally  removed,  by  the  financial 
economic  and  social  benefits  that  will  be 
the  inevitable  result  of  a  strong  organisa¬ 
tion. 

I  have  stated  before  that  the  Film 
Artistes’  Section  will  not  be  an  aggressive, 
tyrannical  trade  union,  as*  a  few  timorous 
folk  imagine.  It  will  exist  to  safeguard 
artistes  from  the  aggressiveness  and 
tyranny  of  other  people — it  will  be  on  the 
defensive  all  the  time. 

On  this  page  will  be  found  a  form  on 
which  artistes  are  requested*1  to  advise  me 
of  their  desire  to  be  notified  of  a'  meeting 
that  is  shortly  to*  be  held  with  the*  object 
of  discussing  this  important  matter.  This 
meeting  will  confine  its  attention  to  this 
discussion,  and  if  those  present  are  in 
favour  of  the  formation  of  a  Film  Artistes’ 
Section  of  the  Actors’  Association  they  will 
appoint  a  committee  to  draft  a  complete 
scheme  for  approval.  This  matter  is  of 
infinitely  more  importance  than  was  the 
formation  of  the  Kinema  Club  even,  and 
so  I  urge  those  who  assisted  me  with  that 
venture  to  rally  round  in  this  more  vital 
matter. 

Sign,  and  post  io-day. 


Sitfn  and  rost  to  9b  Lorg  Acre,  W.C.  2.  (Halfpenny  S^amp.) 

Please  send  me  notice  of  meeting  to  be  held  to 
discuss  the  formation  of  a  protective  organisation 
for  Film  Artistes. 

Name 

Full  ( private )  Address 


WARN  THE 
PUBLIC 

ny  ARTHUR  BATTEN 

Perhaps  one  of  the  best  articles  in  last 
week’s  Motion  Picture  Studio  was  “Studio 
Sins,”  by  Frank  Crane.  But  unfortunately 
it  was  in  the  wrong  paper. 

Not  but  what  our  readers  were  interested 
in  it,  but  they  already  know  of  these  sins, 
and  so  it  was  of  little  value  to  them.  Where 
such  an  article  should  have  appeared  is  in 
the  daily  newspaper,  where  the  public  could 
see  what  these  accursed  “film  beauty  ”  com¬ 
petitions  lead  to,  and  let  the  great  number  of 
young  girls  see  where  they  make  their  mis¬ 
take  in  trying  to  “get  on  the  films.” 

Of  course,  the  critic  might  quickly  remark, 

“  Pooh  !  What  good  will  that  article  do  t*o 
the  ‘  screen-struck  ’?  ”  Well,  now,  if  the 
contribution  had  been  written  by  an  artiste, 
or  even  one  who  has  just  commenced  in  the 
film  profession,  I  might  have  had  my  doubts 
as  to  what  good  it  will  do  ;  but  not  when  it 
is  submitted  by  a  director  who  has  directed 
many  American  and  British  productions.  I 
feci  sure  it  would  strike  a  different  attitude 
with  the  readers. 

Remember  there  are  many  of  these 
imaginary  future  Mary  Pickfords  who  have 
parents  that  have  quite  a  different  opinion 
from  that  of  their  children,  and  whenever 
they  read  or  hear  of  opportunities  occurring 
that  depreciate  the  reputation  of  the  films — 
such  as  a  bogus  director  in  Court — they  soon 
point  this  out  to  them  with  generally  an 
added  phrase  of,  “They  are  a  vulgar  and 
fast  lot,  these  film  people,  Mary.  Give  your 
mind  to  the  shop  business,  and  you  will 
find  yourself  considerably  better  off.” 

What  a  chance  for  these  parents  to  read 
Mr.  Crane’s  article  in  their  daily  paper  !  It 
even  points  out  that  there  are  girls  who, 
having  their  names  and  photographs  pub¬ 
lished  in  the  local  paper — many  more  having 
theirs  published  now  as  the  result  of  the 
Norma  Talmadge  publicity  stunt — only  to 
find  that  be  (Frank  Crane)  and  many  other 
directors  cannot  give  them  work. 

This  article,  written  by  a  man  who  knows 
what  he  is  writing  about,  to  be  more  valuable 
elsewhere,  should  be  made  clear  to  the 
readers  that  the  writer  is  a  man  of  im¬ 
portance.  The  previous  article  which  ap¬ 
peared  under  his  name  on  “Youth,”  in  an 
earlier  issue,  should  be  reprinted  also.  This, 

I  feel  sure,  would  convince  many  of  the 
“screen  struck.”  By  this  they  would  know 
that  he  was  a  director  of  Ideal  Films  and 
also  of  many  American  ones ;  consequently 
they  would  be  more  likely  to  believe  in  his 
article. 

If,  of  course,  other  well-known  directors 
would  write  similar  articles  to  the  news¬ 
papers,  urging  the  public  to  keep  their  film- 
mail  daughters  from  the  films,  it  would  make 
a  difference,  I  think. 

Would  not  that  article  help,  just  at  the. 
present  time,  too,  as  pet  haps  there  are. 
thousands  of  “screen-struck  ”  girls  who  were; 
disappointed  as  a  result  of  the  Norma  Tal¬ 
madge  publicity  stunt,  and  perhaps  alter 
their  hopes  of  ever  being  future  Mary  Pick- 
fords?  I  think  it  would,  but  I  wonder  il 
Mr.  Crane  does.  He  is  the  one  we  want  to 
persuade  to  agree  with  my  article. 


6 


December  2,  1922 


THE  MOTION  PICTURE  STUDIO 


Intimate  Studio  Q os  sip 


Congratulations  to  Ivy  Duke  and  Guy 
Newall,  who  were  married  on  Sun¬ 
day.  The  ceremony  took  place  quietly 
it  the  Marios  Road  registry  office, 
Kensington,  but  was  not  allowed  to 
interfere  with  their  film  work.  I  he 
happy  couple  will  spend  a  queer  sort 
of  “  honeymoon  ”  in  Italy — they  will 
be  busy  at  work  on  exteriors  for  “The 
Starlit  Garden,’’  the  new  George 
Clark  production 

It  h  as  been  a  pet  idea  of  mine  for 
some  time  that  British  productions 
made  in  Germany  would  be  an  excel¬ 
lent  financial  proposition  by  reason  of 
the  rate  of  exchange,  which  is  all  in 
favour  of  the  Britisher.  And  now 
George  Dewhurst  has  got  first  in  the 
field.  He  is  now  in  Germany  pre¬ 
paring  the  way,  and  his  company  go 
cut  to>  him  to-day.  Good  luck  to  them 
all  ! 

O^e  of  these  days  I  will  get  someone 
to  compile  a  list  of  the  Britishers 
now  working  in  American  studios. 
The  number  is  surprisingly  large. 
Occasionally  a  solitary  representative 
of  this  list  returns  to  his  native  land 
to  place  at  the  disposal  of  the  British 
Industry  the  experience  and  technique 
obtained  in  America.  Such  a  one  is 
Edmund  Goulding,  who  returns  to. 
England  next  month.  Mr.  Goulding 
has  probably  in  the  last  few  years 
written  the  stories  of  more  motion 
pictures  than  any  ether  living  writer, 
and  thus  an  Englishman  leads  in  this 
particular  branch  of  the  American  film 
Industry.  His  latest  novel,  “Fury,” 
a  typically  English  story  of  Lime  house; 
and  the  sea,  is  being  published  by 
Dodd,  Mead  and  Co.,  of  New  York, 
and  produced  by  First  National — 
probably  the  first  time  a  story  has 
been  published  and  produced  simul¬ 
taneously. 

During  the  past  year  he  has  written 
an  imposing  array  of  stories,  in¬ 
cluding  “  Pol’able  David,”  featuring 
Richard  Barth  el  mess,  a  simple  story 
of  the  Virginian  Hills,  and  pro¬ 
nounced  by  the  'American  dailies  as 
the  best  picture  of  the  year  ;  such 
bizarre  subjects  as  “Peacock  Alley,” 
“Fascination,”  “Broadway  Rose,” 
“  Jasmania, ”  and  “  Miss  Midnight  ” 
for  Mae  Murray.  Lilian  Gish  is  now 
leaving  for  Italy  to  direct  “  The  White 
Sister,”  a  Goulding  adaptation,  and 

Every  Film  Artiste 


F.  P.-Lasky  has  just  completed  “Dark 
Secrets  ”  by  the  same  author.  Christie 
Cabanne  has  just  directed  Until  We 
Meet  Again  ”  and  Wesley  Barry  is 
engaged  on  “Little  Heroes  of  the 
Street,”  a  whimsical  juvenile  story  of 
a  policeman’s  son.  There  can  be  no 
doubt  that  this  Englishman  has 
accurately  gauged  the  tastes  of  the 
American  public.  He  will  make  Frank 
Zeitlin’s  offices  his  London  head¬ 
quarters. 


A  an  eye  Kenyon,  who-  was  seen 
recently  in  “Quality  Street”  and 
other  West  End  plays,  has  been 
chosen  by  Ideal  to  play  Doda  in  the 
forthcoming  Denison  Clift  Art  Pro¬ 
duction  of  the  A.  S.  M.  Hutchinson 
novel,  “This  Freedom.”  Miss  Kenyon 
is  now  filming  at  the  studios  at  Elstree, 
bringing  to  the  role  all  her  natural 
charm,  vivdeity  and  tragic  force.  A 
photograph  of  Miss  Kenyon  is  given 
above. 


mean  about  4,000  lire,  plus  the  Custom 
duty,  which  is  about  1,500  lire.  This 
makes  each  copy  come  to  about  5,500 
lire  without  titles.  You  can  therefore 
imagine  the  difficulty  when  a  complete 
copy  here  costs  about  3,000  lire  in 
Kodak  film.  British  producing  firms 
should  think  seriously  about  this  point, 
for  otherwise  it  will  be  found  very 
difficult  to  import  films  to  Italy.” 

As  the  Princess  Elizabeth,  Ladv 
Diana  [Manners  was  enacting  a 

o 

scene  last  week  where  the  future 
sovereign  was  imprisoned  in  the 
Tower  of  London  on  the  order  of  her 
sister,  Queen  Mary.  Elizabeth,  after 
being  forced  to  witness  the  procession 
of  the  execution  following  the  behead¬ 
ing  of  leaders  of  the  revolt,  w?as  cast 
into  a  cell.  She  realised  the  danger 
of  her  being  sent  to'  the  block.  The 
setting  for  this-  scene  was  a  hallway 
in  mediaeval  Beaulieu  Abbey  with  a 
low  ceiling  .and  queer  little  'arched 
doorways1.  One  larger  arch  leads  on 
to  a  stone  stairway.  Into'  this  arch 
was  fitted  a  wooden  gate  of  bars  to 
represent  a  prison  door.  Lady  Diana 
was  brought  into  the  cell  by  the 
warden  of  the  Tower.  Deft  alone  and 
locked  in,  she  turned,  terror-stricken, 
looked  about  the  dismal  place,  and 
then  in  an  excess  of  emotion  threw 
hevseif  against  the  barred  door,  beat¬ 
ing  violently  against  it.  Lady  Diana’s 
realism  was  so  vivid  that  the  property 
door  was  unable  to  withstand  it. 
Before  Mr.  Blackton  or  others  present 
were  aware  of  the  danger,  the  door 
fell  back  and  Lady  Diana  fell  cut  on 
the  stairway.  Mr.  Blackton,  his 
assistant  and  members  of  the  cast 
went  quickly  to  her  aid.  Though 
slightly  stunned,  Lady  Diana  pluckily 
declined  to  hold  up  the  scene.  The 
dcor  was  replaced  in  position,  more 
securely  tightened,  and  Dady  Diana 
again  acted  the  scene,  giving  to'  it  all 
the  terror  of  the  imprisoned  princess. 


Our  representative  in  Italy,  Arricho 
Bocehi,  writes  to  sav  that  he  feels 
sure  that  several  British  productions 
could  be  sold  out  there,  “but  the  diffi¬ 
culty  seems  to  be  that  while  everybody 
else  sends  the  negative  over  here,  so 
as  to  prevent  the  high  duty  and  cost 
of  copies  in  foreign  markets,  British 
firms  will  not  dlo  this.  A  copy  without 
titles  costs  about  and  with  the 

present  rate  of  exchange  this  would 


Qan  I  appeal  to  any  reader  who  is  a 
subscriber  to'  the  Surgical  Aid 
Society  to'  write  to  the  Editor?  A 
very  deserving  case  requires  two 
^  letters. 


should  sifn  and  post  the  Form  on  Page  Six 


7 


THE  MOTION  PICTURE  STUDIO 


December  2,  1922 


^  hi  Feffx  oumAin 


T  BELIEVE  in  giving  credit  where  credit  is  due.  Often  the  stars 
“•  of  production  are  the  only  ones  who  ever  really  get  full  credit 
for  their  work,  while  lesser  characters  are  played  by  artistes  of  out¬ 
standing  ability,  who  work  very  hard  and  conscientiously.  This  is 
the  case  with  William  Luff,  Hubert  Carter  and  A.  B.  Inieson,  who 
did  excellent  work  in  “The  Virgin  Queen.” 

Mr.  Luff  has  the  role  of  Bishop  de  Quadra,  the  Spanish  Ambassador 
to  the  Court  of  Queen  Elizabeth,  who  figures  prominently  in  his¬ 
torical  records  of  the  times.  He  gives  a  splendid  study  of  this  subtle 
and  scheming  character. 

Mr.  Luff,  it  will  be  recalled,  was  the  Charles  II.  of  “  The  Glorious 
Adventure.”  His  interpretation  did  not  follow  the  romantic  idea 
usually  associated  with  that  sovereign  whom  tradition  has  pictured  as 
the  Merry  Monarch.  Mr.  Luff  carried  out  faithfully  the  characterisa 
tion  of  Charles,  which  I  detailed  explicitly  after  reading  many  volumes 
on  that  period  of  English  history.  Charles  was  not  really  a  merry 
peisonality — he  delighted  m  having  gaiety  about  him  and  was 
addicted  to  many  love  affairs,  but  he  was  more  often  morose  and 
languorous. 

Mr.  Luff  also  played  the  King  of  the  Gipsies  in  “A  Gipsy 
Cavalier,”  and  made  this  character  of  picturesque  interest. 

Hubert  Carter  is  one  of  the  best  actors  on  the  English  stage  and 
screen.  He  makes  the  role  of  Sir  William  Cecil,  Elizabeth’s  Secre 
tary  of  State,  in  “The  Virgin  Queen  ”  an  incisive  study  splendidly 
conceived  in  every  detail.  Mr.  Carter  was  the  very  human  and 
humorous  bailiff  in  “A  Gipsy  Cavalier.” 

A.  B.  Imeson  gives  a  remarkable  dramatic  rendering  of  the  role  of 
Borghese,  Secretary  to  Bishop  de  Quadra,  in  “The  Virgin  Queen.” 
He  is  a  splendid  actor  and  a  very  conscientious  artiste.  He  gave  a 
very  able  interpretation  of  the  role  of  Ballard,  trainer  to  Merodach, 
the  gipsy,  in  “LA  Gipsy  Cavalier.” 

All  three  of  these  artistes  are  a  credit  to  British  dramatic  art. 

Then  there  is  the  interesting  fact  revealed  in  the  appearance  of 
Mr.  Blackton’s  daughters.  Marian  Blackton  played  a  successful 
engagement  in  a  comedy  called  “The  Skylark,”  which  ran  at  the 
Central  Theatre,  New  York,  just  before  coming  over  to  visit  her 
father.  Violet  Virginia,  the  younger  daughter,  has,  with  her  small 
brother,  Charles  Stuart,  acted  in  her  father's  productions  since  she 
was  a  tinv  tot — this  is  her  first  ingenue  role. 


TOP:  William  Luff  as  Bishop  de  Quadra,  Spanish  Ambassador  to  the  Court  of  Queen. 
Elizabeth.  OVAL:  Marian  niackton  as  Mary  Arundel,  Lady-in-Waiting  to  Queen 
Elizabeth.  BOTTOM  LEFT  :  Vic  let  Virginia  Blackton  as  Lettice  Knollys,  favourite  Lady- 
in-Waiting.  ObNTRa; .  Hubert  Cai  ter  as  Sir  William  Cecil.  Secretary  ot  State.  BOTTOM 
■-UGUT  :  A.  B.  Imeson,  as  Borghese,  secretary  to  Bishop  de  Quadra,  Spanish  Ambassador^ 


8 


December  2,  1922 


THE  MOTION  PICTURE  STUDIO 


HENRY  DOUGHTY 


is  with  sincere  regret  that  we 
have  to  announce  the  sudden  death 
of  Henry  Doughty,  on  November  27, 
from  acute  pneumonia. ;  the  illness 
having  lasted  only  three  days. 

Henry  Doughty  was  a  member  of 
Sir  Henry  Irving’s  Co-,  and  toured 
with  his  own  company  for  several 
years  in  conjunction  with  his  wife, 
Vera  Leslie.  He  was  a  very  fine 
character  actor  with  a  vast  experi¬ 
ence  in  Shakespearean  work.  One  of 
his  favourite  r61es  was  Fagin,  which 
he  played  in  his  own  adaptation  of 
“  Oliver  Twist.”  Although  over  the 
age,  he  joined  up  when  war  broke  out 
in-  1914,  and  served  in  'France  until 
the  Armistice.  Since  the  war  he  has 
played  in  quite  a  number  of  films,  and 
his  work  was  always  distinguished  by 
a  perfect  knowledge  of  technique. 
His  last  part  was  with  the  Diamond 
Film  Co.,  in  “A  Rogue  in  Love.”  He 
was  a  director  of  the  Royal  General 
Theatrical  Fund  Association,  and  a 
member  of  the  Kinema  Club.  He  died 
at  the  age  of  55. 


TRADE  SHOW 
GUIDE 

WHERE  AND  WHEN  TO  SEE 
YOUR  FILM 

T^RED  LE  ROY  GRANVILLE’S  latest 
British  production, 

“  SHIFTING  SANDS,” 
will  be  distributed  by  Film  Booking  Offices. 
Ltd. 

An  exceptionally  strong  cast  has  been 
assembled,  which  is  headed  by  Peggy 
Hyland,  Lewis  Willoughby,  Gibson  Gowland, 
Richard  Atwood  and  Mdlle.  Valia.  Other 
rdles  are  filled  by  Rosina  Wright,  Bobby 
Laing,  Arthur  Walcott,  Douglas  Webster, 
Amy  Willard,  R.  W.  Marshal,  and  Berenice 
Melford. 

R.  C.  Wells,  who  was  assistant  director,  is 
responsible  for  the  story,  and  Walter 
Blakeley  and  Silvan  Balboni  the  photo¬ 
graphy. 

Trade  Show  :  Wednesday,  December  6,  at 
the  Alhambra  Theatre,  at  11.15  a.m 


^TIHE  British  National  Film  League’s  Trade 
show  for  this  week  is  the  Gaumont 
production, 

“  SILENT  EVIDENCE,” 
which  was  directed  by  Captain  Calvert  under 
the  title  of  “The  Scientist.” 

David  Hawthorne  and  Marjorie  Hume  play 
the  leads,  and  are  supported  by  H.  R.  Hig- 
nett.  Frank  Dane.  Cecil  du  Gue  and  Miriam 
Murray. 

Trade  Show  :  Thursday,  December  7,  at 
the  New  Gallery  Kinema.  at  n  a.m. 

HP  HE  third  and  last'  Trade  show  of  the 
week  is  the  Quality  film, 

“  HIS  WIFE’S  HUSBAND,” 
a  four-reeler  which  was  directed  by  G.  A. 
Cooper  at  the  Bertram  Phillips  Studio, 
Claoham. 

Madge  Stuart,  Olaf  Hytten  and  M.  A. 
Wetherell  are  the  leading  players  in  the 
cast. 

Trade  Show  :  Friday,  December  8,  at  the 
Shaftesbury  Pavilion,  at  11.15  a.m. 


Where  they  are  and - 

- what  they  are  doing 


Lewis  Willoughby  is  appearing  at  the  Gar¬ 
rick  in  “Biffy.” 

A.  G.  Poulton  is  to  play  in  “Biffy  ”  at  the 
Garrick  Theatre. 

Dorothy  Fane  is  playing  at  the  Garrick 
Theatre  in  “Biffv.” 

George  Pearson  is  commencing  work  on 
a  new  film  for  Welsh-Pearson. 

Roy  Byford  will  be  seen  at  the  Garrick 
Theatre  shortly  in  “Biffy.” 


Malcolm  Tod  has  been  playing  for  Ideal 
in  “The  Hawk  ”  at  Torquay. 

Roy  Calvert  has  been  playing  a  small 
part  for  Blackton  in  “A  Virgin  Queen.” 

D.  P.  Cooper  is  filming  the  exteriors  of 
“  The  Prodigal  Son,”  at  Nice,  for  Stoll. 

Alfred  Harding  has  been  playing  in  “The 
Broken  Wing,”  at  the  Duke  of  Yorks. 

A.  E.  Coleby  is  directing  the  exteriors 
of  “The  Prodigal  Son,”  for  Stoll,  at  Nice. 

Henry  Victor  is  in  Nice  appearing  in  the 
exteriors  of  “The  Prodigal  Son,”  for  Stoll. 

Melinda  Lloyd  lias  been  appearing  in  Sin¬ 
clair  Llill’s  new  Stoll  production,  “Open 
Country.” 

Humberstone  Wright  is  playing  for  Maurice 
Elvey  in  the  new  Stoll  production,  “The 
Sign  of  Four.” 

Gertrude  McCoy  will  shortly  commence 
work  for  British  Supers  as  Josephine  in 
“A  Royal  Divorce.” 

Adeline  Hayden  Coffin  has  just  completed 
her  contract  to  play  the  mother  in  “This 
Freedom,”  the  new  Denison  Cliff  Ideal  pro¬ 
duction. 

Y  a  z  i  k  ova, 
whose  photo 
we  reproduce 
on  this  page, 
has  now  altered 
her  name  and 
will  in  future 
be  known  as 
Ninna  Vanna, 

Yazikova  has 
proved  too  for¬ 
midable  a  name 
for  we  British 
and  because  of 
the  mispro- 
nunciation 
Miss  Vanna 
decided  to  alter 
it  to  one  more 
easily  pro- 
nounc  d  and 
r  e  m  e  mbered. 

She  has  been 
playing  in  Italy 
with  the  Atlas 
Biocraft  Pro- 
duction  in 
“The  Man 
Without 
Desire.” 


Olaf  Hytten  is  going  to  Germany  to  play 
for  Dewhurst  Productions. 

John  Alexander  is  going  to  Italy  for  George 
Clark  in  “The  Starlit  Garden.” 

Gaston  Quiribe.t  has  just  completed  “Peeps 
into  Puzzle-Land  ”  for  H'ep worth. 

Richard  Lindsay  is  going  on  the  Continent 
to  play  for  Dewhurst  Productions. 

Mary  Rorke  is  going  to  Italy  to  play  in 
“The  Starlit  Garden  ”  for  George  Clark. 

Hal  Young  will  photograph  “The  Starlit 
Garden  ”  for  George  Clark  Productions. 

Gustave  Pauli  is  photographing  “What  the. 
Butler  Saw  ”  and  “The  Uninvited  Guest.” 

Ivy  Duke  is  going  to  Italy  to  star  in  “  The 
Starlit  Garden  ”  for  George  Clark  Produce 
tions. 

Guy  Newall  is  to  direct  the  exteriors  of 
“The  Starlit  Garden”  for  George  Clark  in 

Italy. 

Valia  is  to'  play  in  “The  Starlit  Garden  ” 
for  George  Clark,  and  is  going  to  Italy  for 
exteriors. 

Lawford  Davidson  h.as  been  engaged  to  go 
to  Italy  to  play  for  George  Clark  in  “The 
Starlit  Garden.” 

Albert  Raynor  has  been  playing  Ogle-. 
thorpe,  Bishop  of  Carlisle,  for  Blackton  in 
“The  Virgin  Queen.” 

Bromley  Davenport  is  to  play  for  George 
Clark  in  “The  Starlit  Garden,”  and  leaves 
for  Italy  shortly. 

I.  Roseman  will  photograph  “What  the 
Butler  Saw”  and  “The  Uninvited  Guest” 
for  Dewhurst  Productions. 

Arthur  Walcott  is  to  play  for  Dewhurst 
Productions  in  “What  the  Butler  Saw  and 
“The  Uninvited  Guest.” 

Cecil  Morton  York*  is  playing  in  the  new 
Dewhurst  Productions,  and  is  going  on  the 
Continent  with  the  company. 

Cameron  Carr  has  been  engaged  to  pla> 
for  Dewhurst  Productions  in  “What  the 
Butler  Saw  and  “The  Uninvited  Guest.” 

Stewart  Rome  has  been  secured  by  Dew¬ 
hurst  Productions  to  play  in  “What  the 
Butler  Saw”  and  “  The  Uninvited  Guest.” 

George  Dewhurst  is  going  on  the  Con¬ 
tinent  for  six  weeks  to  make  "What  the 
Butler  Saw  ”  and  “  The  Uninvited  Guest.” 

Annette  Benson  is  going  to  Germany  for 
Dewhurst  Productions  to  play  in  “What  the 
Butler  Saw  ”  and  “  The  Uninvited  Guest.” 

Linda  Moore  is  playing  for  Dewhurst  Pro¬ 
ductions,  and  leaves  for  the  Continent  with 
the  other  members  of  the  company  very 
shortly. 

A.  B.  Imeson  contradicts  the  rumour  that 
he  has  been  engaged  to  go  abroad.  He  has 
just  completed  work  for  Ideal  in  ‘  1  his 
Freedom,”  and  is  now  at  liberty. 


Every  Film  Artiste 


should  sign  and  post  the  Form  on  Page  Six. 


THE  MOTION  PICTURE  STUDIO 


December  2,  1922 


SHORT  CUTS  TO 
BANKRUPTCY 

by  CHRISTABEL  LOWNDES- YATES. 


S  a  true  and  faithful  believer  in  the 
future  of  British  films,  I  ana  inter¬ 
ested  in  the  formation  of  a  new  film 
company,  and  naturally,  therefore,  in  the 
business  side  of  the  matter.  Since 
finance  is,  after  all,  the  root  of  the 
matter,  the  first  thing  in  the  formation 
of  any  company  is  the  question  of  capital 
— that  much  be-muddied  thing  without 
Which  it  is  impossible  either  to  produce 
goods  or  to  employ  labour. 

The  first  thing,  then,  is  to  go  to  the 
capitalists  with  your  scheme.  You  have 
such  and  such  a  story,  So-and-so,  for  a 
director,  X  for  a  cameraman,  Y  and  Z, 
the  well-known  renters  who  are  willing 
to  handle  the  productions  if  they  are  up 
to  standard,  and  Miss  Blank,  the  famous 
screen  star  for  leading  lady.  The  esti¬ 
mated  cost  is  so  much,  the  returns  are 
estimated  at  so-and-so,  and  the  net  result 
should  show  a  profit  on  the  sale  of  the 
films  for  a  handsome  amount. 

The  capitalists  are  interested.  The 
returns  are  good.  They  go  into  the 
matter  and  find  the  figures  correct.  It 
is  a  sound  proposition  and  the  men  in 
the  business  have  the  confidence  of  the 
Trade.  They  Begin  to  talk  finance 
across  a  table  and  everything  appears  to 
be  going  smoothly.  But  does  it?  Oh, 
no.  The  stumbling-block  is  there  all  the 
time. 

No.  1  financier  is  feeling  for  his  cheque 
hook,  when  suddenly  he  withdraws  his 
hand  and  suggests — “  By  the  way,  you 
know — those  stories  of  you.rs — I'm  not 
very  struck  with  them.  My  wife  writes 
stories.  If  I  decide  to  go  into  this,  I 
think  it  would  be  as  well  if  we  did  some 
of  her  stories  instead.” 

The  film  men  put  a  few  questions.  “  Is 
the  lady  a  professional  writer?  Does 
she  understand  the  highly  technical  work 
of  writing  for  the  films?  ”  The  answers 
are  vague,  but  the  fact  emerges  that  the 
ladjy  is  an  amateur  who  has  always 
wanted  to  write  stories,  and  editors  are 
not  kind-hearted  people,  and  to  cut  mat¬ 
ters  short,  the  husband  is  willing  to-  pay 
a  price  for  the  lady  to  realise  her  am¬ 
bitions. 

Then  his  friend,  the  other  financier, 
leans  forward.  It  seems  he  knows  “a 
little  girl — a  pretty  little  girl  who  wants 
to  act  for  the  pictures.  Why  pay  Miss 
Blank  all  that  money  when  this  little 
girl  .  .  .  ?  ” 

Experience?  Oh,  well,  the  little  girl 
is  very  clever,  and,  of  course,  the  part 
must  not  be  too  exacting  at  first.  She 
will  learn  quickly  and  she  is  a  good  bit 
younger  than  Miss  Blank  and — well— as 
a  matter  of  fact,  a  financier  putting  his 
money  into  the  company  must  be  allowed 
a  say  in  the  business  side,  and  it  en¬ 


titles  him  to'  a  voice  in  the  management. 

So  it  goes  on,  land  the  bald  fact 
emerges  that  if  these  friends  of  the 
backers  are  not  included  in  the  company, 
there  will  be  no  cheques  forthcoming  to 
finance  it. 

There  are  two  alternatives  open.  One 
is  to-  run  the  company  withi  the  handicap 
of  the  amateurs,  the  other  to-  drop  the 
project  altogether.  In  either  case  the 
professional  artiste  suffers.  In  the  one 
case  there  is  no  work  at  all  for  them, 
in  the  other,  the  artistes  who  should  be 
given  their  chance,  because  they  have 
earned  it  by  hard  work,  are  not  getting 
the  jobs  they  should  because  amateurs  are 
put  in  over  their  heads,  and  no-  others 
need  apply  for  the  worth-while  jobs. 

What  is  the  remedy?  The  Trade 
wants  the  money,  but  it  does  not  want 
the  amateurs.  New  blood  must  be  intro¬ 
duced,  of  course,  into-  the  Industry,  if  it 
is  to  be  lusty,  but  not  the  type  of  new 
blood  that  turns  an  expected  profit  into-  a 
terrible  deficit.  Not  the  type  of  amateur 
— be  he  director,  scenarist  or  artiste — 
that  brings  the  company  by  a  short  cut 
to  the  bankruptcy  court. 

What  is  the  solution  of  the  problem? 
Frankly,  I  do  not  know.  Such  a  state 
of  affairs  could  not  exist  if  the-  Industry 
were  duly  and  properly  safeguarded,  but 
what  those  safeguards  should  be  must 
be  left  to  wiser  and  more  experienced 
people  than  the  writer  of  this  article. 
Meanwhile,  I  can  -only  suggest  that  in 
spite  of  the  need  of  money,  film  direc¬ 
tors  should  steadfastly  decline  to  allow 
lay  interference  from  their  financial  back¬ 
ers  in  the  technical  part  of  the  business. 
There  is  no  trade  or  industry  in  this 
country  where  solidarity  is  so  needed  at 
the  present  time  as  in  the  film  Industry. 
There  is  no-  trade  that  I  know  of  where 
it  is  so  lacking. 

If  we  stand  together,  work  together, 
and — if  necessary — fight  together,  we 
cannot  fail  to  put  the  British  films  where 
they  should  be — in  the  forefront  of  the 
world’s  pictures,  but  we  shall  never  do  it 
until  we  realise  that  film  production,  in 
no  part  of  it,  is  an  amateur’s  job — that 
work  and  experience  and  high  profes¬ 
sional  attainments  in  the  various  branches 
of  the  work,  are  not  trifles-  to  be  put 
aside  as  things  of  no  value,  but  the 
actual  assets  and  basis  of  our  success  in 
the  Trade. 

Stand  together  in  this  matter.  Recog¬ 
nise  the  rights  of  the  professional.  Do 
not  be  too  kind  to  the  aspirations  of  the 
screen-struck.  Let  the  amateur  win  his 
way  honestly,  as  the  artistes  have  done, 
through  hard  work  and  hard  times  to 
whatever  place  he  can  win  for  himself 
by  his-  own  efforts-.  TTiat  is  the  way  to 
fight  through  hard  times  to  success— and 
success  will  come  to  the  triers,  because 
they  have  earned  it.  Foe  the  other  kind 
of  amateurs  there  is  no  room  in  the  over¬ 
crowded  Trade,  and  the  sooner  they 
realise  it  the  better  for  all  concerned. 


CLUB  CLATTER 

by  CLATTERBOX 

AN  Thursday  night  the  much-advertised 
Scottish  gathering  was  held.  Un¬ 
fortunately  it  took  place  just  too  late  in  the 
day,  and  consequently  cannot  be  described 
in  this  issue.  Despite  the  fact  that  many 
members  were  to  have  been  at  the  Ypres 
Ball,  which  was  being  held  on  the  same 
evening,  everything  pointed  to  the  Club 
dance  being  a  success.  The  notice  of  the 
gathering  outside  the  porter’s  box  bears 
evidence  that  we  have  a  humorist  some¬ 
where  in  the  Club. 


The  date  of  the  second  Kinema  Carnival 
has  now  been  fixed  for  February  5,  and 
as  was  the  case  last  year,  it  will  be  held  at 
the  Hotel  Cecil.  There  is  plenty  of  time 
this  year  to  make  all  arrangements  for  that 
night,  and  it  is  certain  that  despite  the 
success  of  the  first  one,  the  second  is  going 
to  be  even  better.  Arrangements  have  been 
made  with  the  Cecil  management,  and  the 
big  garage  is  to  be  fixed  up  and  decorated 
bo  that  tho-se  who  wish  to  sit  out  a  dance 
can  do  so.  There  are  to  be  all  kinds  of 
novel  carnival  features,  and  altogether  the 
evening  of  February  5  and  the  morning  of 
February  6  promise  to  be  really  great. 
'Billie  Bristow  and  the  Entertainment  Com¬ 
mittee  are  now  busy  making  arrangements 
for  the  carnival,  and  the  price  of  tickets 
-and  other  particulars  will  be  announced  in 
due  course. 


Members  have  no  doubt  noticed  the 
arrangements  being  made  for  presenting  the 
Club  staff  with  a  Christmas  box.  The  staff 
at  No.  9  is  not  allowed,  to  receive  tips,  and 
,a  uresent  from  the  members  once  a  year  is 
not  asking  too  much.  The  Kinema  Club 
staff  is  one  that  would  be  hard  to  duplicate. 
The  hours  are  irregular,  but  it  is  seldom 
that  -anyone  of  them  ever  complains,  and 
every  one  is  remarkably  obliging  and 
courteous  to  visitors  and  members. 


On  Sunday,  December  3,  the  catering  de¬ 
partment  will  give  a  “Potty  Night.” — Special 
club  dinner  and  some  reel  music.  They 
announce  that  “There  is  no  method  in  our 
madness — or  in  that  of  ‘  Potty  Night  ’ ;  but 
let  us  remember  ‘Who  lives  without  folly 
is  not  so  wise  as  he  thinks.’  ”  Tables 
should  be  booked  at  once,  6s.  6d.  each. 


I  am  asked  to  acknowledge,  on  behalf  of 
the  catering  department,  kind  gifts  of 
vegetables  from  Harding  Steerman’s  sister, 
and  a  sack  of  potatoes  from  Bert  Darley. 
Such  gifts  are  an  indication  of  the  practical 
interest  of  members  and  all  help  to  swell 
the  Club  funds. 


COME  RIGHT  IN! 

If  you  are  passing,  or  if  you  want  to  ask 
a  question,  or  if  you  have  some  news,  or 
if  you  want  to  have  a  chat  over  the  busi¬ 
ness-  come  right  in !  We  are  anxious  to 
maintain  close  personal  touch  with  all  our 
readers.  We  are  putting  you  first  all  the 
time — you  and  your  interests  are  our  chief 
concern,  and  we  want  to  emphasise  that 
you  have  a  perfect  right  to  come  in  and 
regard  our  time  as  being  at  your  disposal. 
Coine  light  iu  ! 


Every  Film  Artiste  should  sign  and  post  the  Form  on  Page  Six. 


10 


December  2,  1922 


THE  MOTION  PICTURE  STUDIO 


SEVEN  YEARS  OF  FILM  WORK  AND 

NO  ILLUSIONS  LEFT! 


I  N  the  seven  t  ears  that  I  have  put  into 
the  making  of  motion  pictures  I  have 
played  and  watched  the  game  from  every 
angle.  I  cannot  exclaim  “  Eureka  ” 
(which  is  Greek  for  “  I  know  it  all!  ”), 
but  this  I  can  say,  the  trouble  with  the 
kinema  is  formula !  There  are  sef 
formulas  for  writing  titles,  formulas  for 
stories,  formulas  for  entries,  formulas  for 
exits,  formulas  for  beginnings  and  formu¬ 
las  for  endings. 

There  are  not  enough  bold,  creative 
spirits  who  will  continually  smash  all  rules 
and  formulas.  In  the  rapid  development 
of  the  mechanical  side  of  picture-making 
in  America  the  artistic  side  is  being  lost 
sight  of.  There  are  beautiful  “effects,” 
but  few  ideas.  Story-writers,  directors, 
title-writers  and  actors  are  tied  hand  and 
foot  by  the  purely  mechanical  and  business 
brains  that  will  eventually  make  the 
American-made  picture  the  most  perfect 
mechanically  in  the  world,  but  the  least 
creative,  the  least  intellectual  and  the 
most  tiresome. 

The  crying  need  of  this  great  Art  is  big, 
independent  writers  and  epic  directors 
who  can  work  untrammelled.  This  real 
wonder  of  the  modern  world  is  to-dav 
almost  wholly  controlled  by  men  not  to 
the  kinema  born.  It  is  as  though  Mr. 
Edison  were  to  call  in  a  barber  to  run  his 
plants,  or  the  Daily  Mail  were  to  pick  a 
cigar  salesman  for  managing  editor. 

During  my  seven  years  in  studios  I  have 
watched  the  manufacture  of  pictures  from 
the  day  the  story  was  bought  until  its 
production  on  Broadway.  I  have  seen 
the  story  passed  on  to  the  scenario  (or 
continuity)  writer,  who  put  it  into  480 
scenes,  describing  in  his  script  the 
minutest  action  of  every  character,  plant¬ 
ing  the  fades  and  the  close-ups  with  a 
complete  set  of  titles.  I  have  seen  the 
script  changed  by  the  supervising  director, 
passed  on  to  the  director,  who  shot  it, 
scene  by  scene,  from  the  manuscript ;  the 
building  of  each  “  set  ”  by  the  carpenters 
from  the  blue  prints  from  the  art  depart¬ 
ment,  the  continual  re-editing  and  cutting 
of  the  film  after  twenty  runs  in  the  raw 
in  the  projection  room,  the  retitling,  the 
making  of  inserts  (letters,  documents, 
photographs,  etc.),  the  making  of  title 
cards  in  the  laboratory,  and  the  final  run 
in  the  theatre  of  the  studio  for  the 
“  critics  ”  from  the  main  office — who  just 
as  often  pronounce  the  whole  thing  “  rot  ” 
as  they  signify  with  an  enigmatic  shake 
of  the  head,  “  It’ll  pass  !  ” 


by  TOM  TERRISS 

is  perfectly  legitimate,  for  the  kinema  is 
neither  educational  nor  philanthropic.  It 
is  as  purely  a  commercial  enterprise  as 
selling  soaD. 

I  here  are  rare  and  beautiful  instances 
when  artistic  effect  and  commercial  values 
marry.  “  Sentimental  Tommy,”  “  The 
Four  Horsemen  of  the  Apocalypse,”  “  Ex¬ 
perience,”  “  Peter  Ibbetson,”  are  in¬ 
stances. 

Before  I  went  into  the  kinema  I  had 
heaid  a  great  deal  about  the  “  fascina¬ 
tion,”  the  “  magic  ”  of  the  game,  and  the 
way  it  “gets  you.”  “How  to  get  into 
the  films  ”  is  the  slogan  of  millions.  No 
one  was  ever  told  how  to  get  out  of  the 
films — for  no  one  wants  to  get  out  having 
once  got  in.  I  have  never  met  a  person 
who  voluntarily  left  the  kinema  for 
another  business. 

But  when  I  first  entered  the  studio  the 
“  fascination  ”  and  “  magic  ”  were  no¬ 
where  apparent.  1  could ’t  find  “  kinema 
land,”  the  modern  democratic  fourth 
dimension.  On  the  great  stages,  where 
sometimes  ten  scenes  were  being  “  shot  ” 
at  once,  there  seemed  to^  be  a  series  of 
dumb  shows  going  on,  interrupted  by  the 
hammer  of  carpenters,  the  blare  of  jazz 
bands,  the  gong  of  the  director,  or  his 
megaphone. 

A  girl  leaped  from  a  castle  window  into 
a  net  held  by  stage-hands.  Tom  Meighan 
was  being  knocked  down  in  a  bar-room  ; 
Wallace  Reid,  in  military  uniform,  was 
bowing  and  scraping  to  a  double-decked 
duenna;  Constance  Binney  was  cooking 
ham  and  eggs  in  a  garret;  Elsie  Ferguson 
leaned  out  of  a  balcony  while  her  stage- 
lover  sat  on  a  fire  hydrant  off  scene,  chew¬ 
ing  a  cheese  sandwich.  Bewildering,  but 
sometimes  dismal. 

But  with  the  passing  days  the  curious 
unreality  of  this  world  begins  to  seep  into 
your  blood,  bone  and  tissue.  These  un¬ 
substantial  and  fading  scenes  begin  to 
attack  and  dilate  your  imagination.  Liv¬ 
ing  with  a  picture  from  its  inception  to 
its  last  “  shot,”  built  up  in  me  a  fiction 
sense.  To  battle  in  conferences  over 
people  who  never  lived,  and  dramatic  and 
comic  situations  that  have  no  reality  ;  to 
create  word  pictures  (titles)  so  that  they 
shall  fit  exactly  into  the  place  where  they 
must  go  ;  to  live  day  and  night  with  the 
doings  of  mvthical  beings,  to  make  them 
do  this  and  that  at  your  will,  to  see  a 
story  growing  day  by  day  into  flesh  and 
blood  before  you — that  is  the  “  fascina¬ 
tion,”  that  is  the  “  magic,”  comparable 
only  by  the  sculptor’s  passion  when  he 
turns  a  block  of  stone  into  a  Galatea. 

And  once  this  creational  furore  seizes 
vou  it  can  never  leave  you.  You  may  quit, 
you  may  chuck  the  films  if  you  will,  but 
the  voice  of  the  director  rings  in  your  ear 
still. 

You  may  have  noted  that  men  in  the 
various  departments  of  the  kinema  never 
anything  else.  I  soon  caught 
It  is  because  everything  that 

and  post  the 


happens  becomes  a  picture.  Every  face 
you  meet  is  judged  by  camera  standards. 
The  whole  planet  becomes  a  motion-pic¬ 
ture  studio.  All  events  are  poses.  I  found 
stories  in  stones  and  “  shots  ”  in  every¬ 
thing. 

A  great  many  actors  and  actresses  in 
the  kinema  portray  characters  whose  fic¬ 
tional  names  they  do  not  know — and  quite 
often  they  have  not  even  read  the  stor\ 
of  the  play  they  are  helping  to  film. 

Motion  pictures,  the  eighth  art,  are  not 
yet  20  years  old,  and  yet  they  are  always 
heing  sneered  at  because  they  are  not  on 
a  “  higher  level.” 

What  art  in  the  history  of  the  world 
has  progressed  so  fast? 

Painting  is  one  of  the  oldest  of  the 
arts — but  not  one  picture  in  ten 
thousand  is  worth  looking  at. 

Literature  is  one  of  the  oldest  of  the 
arts — but  not  one  book  in  ten  thousand 
is  real  literature. 

Music  is  one  of  the  oldest  of  the  arts — 
but  the  immortal  composers  do  not 
number  twenty. 

Dancing  is  one  of  the  oldest  of  the 
arts — but  to-day  the  world  “  shimmies  ” 
and  “  jazzes.” 

Architecture  is  one  of  the  oldest  of 
the  arts — but  the  masterpieces  of  archi¬ 
tecture  are  few. 

Sculpture  is  one  of  the  oldest  of  the 
arts — but  howr  many  Rodins,  Michael 
Angelos  and  Praxiteles  are  there? 

Playwriting  is  one  of  the  oldest  of  the 
arts — but  there  is  not  one  play  in  fifty 
that  is  worth  seeing,  and  not  one  in 
ten  thousand  that  lives. 

Most  books,  plays,  music  and  painting 
are  onlv  fit  for  the  ashcan — after  incal¬ 
culable  years  of  work  on  them. 

What  the  seven  arts  have  achieved  only 
at  long  intervals  in  thousands  of  years  the 
[eremiahs  demand  that  an  art  barely 
twenty  years  old  shall  achieve  every  day  ! 

No  art  in  the  history  of  humanity  can 
compare  for  one  moment  with  the  achieve¬ 
ments  of  the  motion-picture  art  in  20 
years. 

No  art  that  is  so  essentially  and  neces- 
sarilv  democratic  as  the  motion-picture  art 
has  done  more  for  the  imagination,  the  in¬ 
telligence,  the  education  and  the  enter¬ 
tainment  of  mankind. 

The  seven  arts  existed  hundreds  and 
thousands  of  years  before  they  gave  birth 
to  an  zEschvlus,  a  Moliere,  a  Shakespeare, 
a  Rembrandt,  a  Beethoven,  a  Mordkin,  a 
Rodin,  a  Cervantes,  an  Acropolis. 

And  there  are  those  who  demand  of  the 
eighth  art — which  is  an  outgrowth  and  a 
blending  of  all  the  arts — these  miracles  in 
twenty  years  ! 

In  twenty-five  years,  with  millions  be¬ 
hind  me  and  a  free  foot,  I  might  conceiv¬ 
able  put  the  motion  picture  on  a  level  with 
the  highest  products  in  the  other  arts. 

But  after  seven  years  I  am  still  an 
amateur.  And  the  greatest  men  in  the 
business  are  still  no  more  than  that  ! 

Form  on  Page  Six. 


There  is 
months  of 
“  good  ”  or 
but  “  will  it 


only  one  question  after  these 
labour — not  is  the  picture 
“  bad,”  “  true  ”  or  “  false,” 
”  And  the  question 


get  over? 


talk  about 
the  fire. 


Every  Film  Artiste  should  sign 


THE  MOTION  PICTURE  STUDIO 


December  2,  1922 


CAMERAMEN’S  SECTION 

News  and  Views 
and 

Record  of  Activities  of  K  i  n  e  -  C  a  m  e  r  a  m  e  n 


IT’S  A  GREAT  LIFE 


XJO  wonder  there  are  so  many  amateurs  anxious  to  get  into  the  film  world 
in  the  capacity  of  cameramen.  Can  any  one  imagine  a  more  glorious, 
happy,  care-free  existence  than  the  cameraman  leads  ?  No  need  to  worry  ; 
see  the  whole  world  for  nothing,  and,  in  fact,  take  a  salary  for  doing  so.  No 
hard  work,  simply  setting  lights,  turning  cranks  and  focusing  up.  How  won¬ 
derful  !  Yet  it  seems  rather  strange  that  financiers — especially  film  financiers— 
should  be  paying  men  for  spending  their  time  in  such  a  pleasant  manner.  Obviously 
there  is  a  catch  in  it  somewhere.  Those  journeys  round  the  world,  for  instance — 
unfortunately  much  of  the  success  of  these  is  marred  by  the  fact  that  they  usually 
take  the  cameraman  into  some  spot  where  he  is  liable  to  be  either  frozen  to  death 
or  else  experience  the  equally  unpleasant  sensation  of  dying  of  typhoid  in  some 
fever-infested  tropical  country  inhabited  by  cannibals  or  savages  of  some  sort. 
Whichever  country  he  is  sent  to  it  can  be  taken  for  granted  that  he  has  been 
sent  there  because  there  is  something  worth  photographing,  and  to  get  something 
interesting  it  is  usually  necessary  to  risk  death  in  a  hundred  different  shapes 
and  forms.  Considering  the  difficulties  that  he  is  up  against  the  cameraman 
who  goes  in  for  these  sort  of  trips — he  is  generally  a  topical  man — is  earning 
every  penny  of  his  money.  Now  let  us  look  into  the  other  side  of  it — the  studio 
side.  The  studio  cameraman  is  about  as  important  as  the  director  himself.  It 
is  the  cameraman  who  by  careful  lighting  makes  the  star  look  beautiful ;  it  is 
the  cameraman  who  is  expected  to  help  the  director  by  introducing  little  tricks 
of  lighting  and  focusing,  and  trivial  as  these  things  may  seem,  it  has  taken  him 
practically  a  lifetime  to  study  camera  work,  and  to  learn  these  tricks  he  must 
understand  the  whole  business.  He  must  know  everything  there  is  to  be  known 
about  laboratory  work  ;  he  usually  understands  electricity,  and  in  addition  he 
must  be  a  mechanic  and  an  artist — a  very  difficult  matter  to  combine  the  two. 
He  is  at  the  studio  from  early  morning  till  late  at  night.  Then  when  a  firm  closes 
down  he  spends  weeks  looking  for  another  situation.  Considering  the  money 
he  spends  on  equipping  himself  thoroughly,  the  time  he  spends  in  making  himself 
well  acquainted  with  the  photographic  art,  the  overtime  he  puts  in  on  behalf 
of  his  firm,  and  the  weeks  he  goes  without  pay  when  his  firm  closes  down,  tlm 
studio  cameraman  is  by  no  means  overpaid — taking  everything  into  consideration 
neither  the  studio  nor  the  topical  man  has  a  very  pleasant  time  of  it. 


CAMERAMEN  IN  U.S.A. 

by  L  G. 


EADING  the  American  Cinematographer, 

I  could  not  help  thinking  that  all  is 
not  honey  with  the  cameramen  on  the  other 
side,  and  that  troubles  which  confront  us 
every  day  are  faced  by  our  American  friends 
with  the  same  acuteness  and  mixed  feelings. 

V.  Milner’s  article  on  “two  subjects  of 
importance  ”  shows  us  that,  even  in  the 
States,  upon  which  most  of  us  look  as  the 
“Promised  Land,”  the  cameraman  was 
often  considered  as  “a  necessary  evil,”  and 
the  “stumbling  block  ”  of  the  film  Industry, 
because  he  refused  to  make  the  phrase  “good 
enough  ”  part  of  his  vocabulary. 

This  description  of  the  American  camera¬ 
man  of  yesterday  describes  most  accurately 
the  position  of  the  kinephotographer  of  to¬ 
day  in  this  country. 

With  the  recognition  of  the  cameraman’s 
responsibilities  and  a  greater  appreciation 
of  his  keenness  and  knowledge,  directors  have 
led  good  men  forward  and  generally  im¬ 
proved  the  tone  of  their  productions  to  a 
considerable  extent,  thus  placing  American 
technique  right  up  to  the  front  in  the  world’s 
market. 

I  do  not  intend  to  repeat  all  that  the 
writer  says  about  the  hundred  things  a 
cameraman  must  do  or  th'nk  of.  Still,  I 

12 


EGROT 

must  mention  his  statement  that  cheap  men 
cost  their  employers — in  wasted  negative ; 
wasted  time  of  direction  and  artistes ; 
wasted  electric  light  when  badly  using  their 
lamps ;  wasted  overhead  expenses — much 
more,  infinitely  more,  than  the  money  saved 
in  not  employing  at  first  a  man  of  proved 
experience,  a  man  who  “will  not  work  for 
a  song,”  but  will  ask,  in  cash,  the  firm’s 
recognition  of  his  knowledge  and  artistic 
abilities. 

To  quote  V.  Milner’s  line:  “Underpay 
a  man  and  you  induce  carelessness.  We  do 
not  ask  for  a  lot  of  money,  we  simply  want 
a  chance  of  doing  better  work,  we  want  to 
move  forward,  for  the  good  of  all  and  our 
own  good.” 

The  second  subject  is  a  burning  question, 
here  too,  and,  like  the  first  subject,  much 
more  so  here — Dark-room  work  ! 

V.  Milner  says  :  “  It  is  a  deplorable  fact 
that  the  best  efforts  of  the  kinematographer 
are  almost  utterly  ruined  in  many  instances 
by  the  treatment  which  his  efforts  are  sub¬ 
jected  to  when  the  negative  reaches  the 
laboratory  of  his  studio  in  the  East.  Con¬ 
ditions  in  this  respect  are  no  better  now 
than  they  were  several  years  ago.” 

(Continued  at  foot  of  next  col  mn.) 


CAMERAMEN 
AT  WORK 

rjAWENTY  cameras,  said  to  be  the  largest 
number  ever  trained  on  one  scene,  were 
employed  by  Reginald  Barker  to  film  the 
big  forest  fire  scene  in  “Hearts  Aflame,”  a 
new  American  film.  Is  this  really  a  record, 
or  is  the  record  held  by  England?  The 
Derby,  for  instance,  had  quite  a  number  of 
cameramen  filming,  and  when  Pathe  photo¬ 
graphed  the  Grand  National  there  were 
something  like  twenty  cameramen  on  the 
job.  We  should  imagine  that  at  some  of  the 
many  Topical  stunts  that  have  been  organised 
here  in  England,  more  than  twenty  camera¬ 
men  have  been  used  to  film  the  event. 

Bert  Ford  has  been  missing  from  town 
during  the  last  week,  the  reason  being 
that  he  is  at  Elove  just  at  present.  Bert 
has  fixed  up  as  cameraman  to  British 
Productions,  and  as  that  company’s  studio 
is  at  Hove,  he  is  likely  to  remain  there 
for  some  time. 

Either  Basil  Emmott  or  Arthur  Brown, 
or  both  will,  no'  doubt,  be  filming  the  next 
Gaumont  super  “  Bonnie  Prince  Charlie.” 
The  scenes  of  this  subject  are  laid  in 
Scotland,  Yorkshire  and  France,  so  that 
there  is  quite  a  wide  range  of  scenery  to 
choose  from.  Providing  the  photography 
is  as  good  in  this  as  it  was  in  “Rob  Roy,” 
there  will  be  little  to  complain  of. 

Leslie  Eveliegh  has  completed  another 
film  for  Davidson  and  this  is  due  for 
trade  showing  very  shortly.  The  picture 
is  called  “  Weavers  of  Fortune,”  and  was 
made  under  the  direction  of  Arthur  Rooke, 
Eveleigh  always  w<orks  in  conjunction 
with  the  laboratory  chief  at  Davidson, 
A.  J.  Griffin,  he  and  Griffin  being  boon 
companions.  The  wisdom  of  this  is  seen 
in  the  quality  of  the  photographic  work 
turned  out  at  Lea  Bridge  Road  studio1.  It 
is  a  great  pity  that  some  of  our  other 
cameramen  have  not  established  a  more 
closer  relationship  between  themselves 
and  the  laboratory  workers. 


Brother  Milner,  we  say  the  same  thing 
•every  day  hexe ;  firms  will  spend  a  fortune 
on  a  production,  but  will  use  for  the  nega¬ 
tive  the  same  principle  which  applies  to 
the  choosing  of  a  cameraman.  But  in  your 
case  the  trouble  is  the  speed  to  which  your 
negiative  is  submitted  from  the  time  it  leaves 
your  hands  up  till  a  first  print  is  made. 

It  is  not  so  much  speed  in  our  case  as 
carelessness  promoted  by  cheapness  and  in¬ 
competence. 

Still,  there  is  hope,  if  things  are  not  quite 
what  they  should  be  in  the  States,  we  can¬ 
not  expect  to  have  them  beaut’ful  and 
smooth  here.  Things  move  slower  here, 
but  cash  is  hard  to  get.  Except  for  this,  it 
seems  to  me,  I  believe  that  some  day  .  .  .  , 
some  day  .  .  . 


December  2,  1922 


THE  MOTION  PICTURE  STUDIO 


SCREEN  VALUES 


“  The  Green  Caravan  ” 


Master — Starring  'Catherine  Calvert — Sup¬ 
ported  by  Valia,  Gregory  Scott  and  Ivo 
Dawson — Directed  by  Edwin  J.  Collins. 
A  POOR  story  has  been  badly  scenarised 
and  only  indifferently  acted.  The 
director  has  done  as  much  as  he  could  with 


the  poor  material  at  his  disposal,  but  the 
result  is  not  calculated  to  enhance  the 
reputation  of  British  productions. 

The  most  noticeable  defect  in  “The  Green 
Caravan  ”  is  the  story — it  is  a  dramatic 
incident  with  no  leif  motifs  and  as  such  fails 
to  come  up  to  the  present-day  standard  of 
film  art. 


Most  of  the  artistes  evidently  feel  the  dis¬ 
advantage  of  lack  of  story  for  the  parts  they 
are  called  upon  to  play  preclude  any  hope 
of  conviction  in  their  performances. 


Granger  wishes  to  point  out  that  the  tre¬ 
mendous  number  of  people  now  wearing  a 
crimson  armlet  are  NOT  advertising  “The 
Crimson  Circle.”  They  are  merely  wearing 
the  badge  of  the  recently  vaccinated. 


Catherine  Calvert  commences  her  British 
screen  work  in  adverse  circumstances — her 
part  offers  no  scope  for  her  unquestioned 
capabilities. 

Valia  is  the  only  redeeming  feature,  but 
even  her  good  performance  is  marred  by  the 
art;ficiality  of  the  character. 

Gregory  Scott  can  do — as  he  has  done — 
infinitely  better  work  than  he  does  in  this. 

Ivo  Dawson  has  a  fine  screen  personality  ; 
in  the  right  part  and  capably  directed  he 
should  be  a  first-rate  artiste. 

The  cameraman  alone  is  above  criticism  ; 
his  photography  is  evenly  good. 

SUMMARY. 

Direction  :  Adequate. 

Lead  :  Good. 

Supports  :  Adequate. 

Literary  :  Continuity  and  story  poor. 

Photography  :  Very  good. 

Lighting:  Fair. 

Exteriors  :  Good. 

Interiors  :  Suitable. 

“  Was  She  Justified  ” 

Walter  West — Starring  Florence  Turner  and 
Lewis  Gilbert — Supported  by  Ivy  Close, 
Johnnie  Reid,  George  Bellamy,  Arthur 
Walcott  and  Leonard  Upton — Directed 
by  Walter  West. 

fTAHiLS — No.  21  on  the  program  of  the 
British  National  League — reflects  little 
credit  on  anyone  concerned.  A  poor  and 
unconvincing  story,  made  even  more  arti¬ 
ficial  and  tedious  by  a  scenario  that  lacks 
any  dramatic  balance,  is  unredeemed  by 
either  technique  or  acting.  Probably  in  the 
latter  respect  the  director  is  more  to  blame 
than  the  artistes. 

Florence  Turner,  for  instance,  is  certainly 
capable  of  good. work,  but  her  performance 
is  either  utterly  lifeless  or  else  melodramatic. 

Lewis  Gilbert  gives  a  consistent  perform¬ 
ance  as  the  husband,  blind  to  everything 
but  business  ambition,  and  his  interpreta¬ 
tion  of  his  role  has  a  certain  strength  pain¬ 
fully  absent  from  the  rest 

Arthur  Walcott  struggles  with  fair  success 
against  the  handicap  of  a.  very  poor  part. 

John  Reid  is  strikirgly  ineffective,  and  Ivy 
Close  a  mere  make-weight. 

The  settings  are  adequate,  but  the  light¬ 
ing  is  for  the  most  part  harsh,  and  the  photo¬ 
graphy  lacking  any  real  artistic  inspiration. 


IN  THOSE  “GOOD 
OLD  DAYS”  ’ 


IN  Pearson's  Magazine,  Cecil  M.  Hepworth 
writes  an  interesting  article  in  which 
he  reviews  his  twenty-three  years  of  film 
experiences.  Twenty-three  years  ago,  he  ex¬ 
plains,  kinematography  was  looked  upon  as 
a  new'  toy,  something  that  was  beneath  the 
notice  of'  all  respectable  people,  and  those 
who  regarded  it  seriously  and  hailed  it  as 
a  new  wonder  of  the  world  were  politely 
regarded  as  lunatics. 

“I  was  already  an  expert  photographer, 
used  to  dabbling  in  the  dark  room  in  the 
rays  of  the  ruby  lamp,  versed  in  all  the 
mysteries  of  developing,  toning  and  fixing, 
accustomed  to  mixing  my  own  chemicals 
and  making  my  own  prints.  In  the  little 
cottage  at  Walton-on-Thames,  around  which 
the  present  Hepworth  studios  have  grown, 
was  my  small  dark  room;  and  it  was  here, 
while  watching  the  images  gradually  grow-  ' 
ing  on  the  negatives,  that  I  resolved  to 
obtain  one  of  the  special  cameras  and  go 
in  for  producing  moving  pictures. 

“Once  I  had  made  up  my  mind,  I  was 
not  long  in  buying  the  new  kinema  camera. 

It  was  a  crude,  cumbersome  thing  com¬ 
pared  with  our  modern  cameras^  but  I 
quickly  mastered  its  peculiarities  and  found 
out  how  it  worked.  Then  I  and  my  cousin 
and  a  friend  or  two  sallied  forth  in  search 
of  our  first  moving  picture,  feeling  as  ex¬ 
cited  as  though  we  were  going  to  shoot  big 
game. 

“The  moving  pictures  at  that  time  were 
simple  affairs.  A  man  crossing  the  road 
would  arouse  wonder,  a  policeman  holding 
up  the  traffic  with  a  lordly  air  was  a  de¬ 
light. 

“We  set  up  our  camera  overlooking  the 
London  and  South-Western  Railway,  and 
watched  for  an  express  to  come  rushing 
through  the  cutting. 

“  ‘Here  she  comes!’  said  my  cousin  as 
the  express  came  into  view. 

“  I  waited  until  the  oncoming  train  came 
into  focus,  then  I  turned  the  handle  ac¬ 
cording  to  instructions.  With  a  shriek  and 
a  cloud  of  smoke  it  passed  beneath  us  and 
was  gone. 

“We  took  the  camera  off  its  tripod  and 
hurried  home.  Then  we  shut  ourselves  in 
the  dark  room  and  started  to  develop  the 
film. 

“Breathless  with  excitement,  we  waited 
patiently  for  tne  images  of  the  train  to 
grow  clear.  To  my  delight,  they  came  out 
beautifully  sharp. 

“As  quickly  as  possible  we  printed  off  a 
copy,  and  I  held  my  first  moving  picture  in 
my  hand.  It  was  a  great  success,  and  our 
enthusiasm  was  unbounded.  I  was  as 
happy  as  though  1  had  discovered  a  gold 
mine. 

“My  first  film  of  the  express  train  was 
only  50  ft.  long,  and  it  took  about  sixty 
seconds  to  show.  Printing  off  a  few  copies, 

I  hurried  round  to  likely  customers  and 
sold  as  many  as  I  could.  The  price  I  ob¬ 
tained  was  the  usual  price  in  those  days— 
8d.  a  foot;  so  for  33s.  4d.  the  showman  was 
able  to  buy  a  copy  of  my  express  train 
passing  through  a  cutting  and  show  it  as 
long  as  he  liked,  until,  in  fact,  the  film 
was  worn  out  by  constant  use. 

“This  was  the  usual  procedure  in  the  early 
days  of  moving  pictures:  I  would  take  one 
of  these  simple  films,  develop  it,  print  it, 
and  sell  it  as  long  as  I  could.  In  a  month 
or  two,  when  it  grew  stale,  I  would  go  home 
and  say:  ‘Well,  boys,  it’s  time  we  took 
another  picture !  ’ 

“  Then  we’d  rack  our  brains  to  think  of 
something.  Perhaps  the  n,ew  picture  would 
be  another  railway  train,  or  it  might  be  a 
river  scene  finishing  up  with  a  man  falling 
out  of  a  skiff.  This  latter  was  hailed  as  a 
touch  of  genius,  and  we  used  to  tackle  the 
subject  with  great  zest. 

“We  did  everything  ourselves.  We  used 
to  think  out  our  own  idea  for  a  film,  go 
out  and  photograph  it,  act  in  it,  develop 
it,  print  it  and  sell  it.  I  would  photograph  I 


part  of  the  picture  until  I  was  wanted  to 
appear  in  it,  then  I  would  go  and  act 
my  part  while  someone  else  turned  the 
handle,  after  which  we  would  all  go  home 
joyfully  to  examine  our  handiwork  and 
criticise  the  photography,  the  actors  and 
the  acting  indiscriminately. 

“Unfortunately,  the  new  movement  at¬ 
tracted  the  attention  of  some  men  whose 
one  idea  was  to  make  money  quickly,  no 
matter  iq  what  way,  and  they  began 
secretly  producing  questionable  pictures  for 
which  there  came  a  big  demand  from  cer¬ 
tain  quarters.  I  hated  the  thought  of  tho 
kinema  cameras  being  put  to  such  degrad¬ 
ing  purposes.  I  would  have  none  of  the 
loathsome  traffic  which  was  bringing  the 
young  industry  into  ill-repute,  and  while 
the  men  engaged  in  this  side  of  the  indus¬ 
try  waxed  rich,  I  fought  my  fight  for  every¬ 
thing  that  was  clean  and  wholesome  and 
watched  my  bank  balance  dwindle.  I  was 
determined  to  make  money  cleanly,  or  not 
at  all. 

“  Hitherto  all  moving  pictures  had  con¬ 
sisted  of  a  single  scene  running  to  the 
usual  length  of  fifty  feet.  I  decided  to  try 
to  take  a  picture  having  several  scenes — a 
thing  never  before  attempted. 

“My  idea  was  to  photograph  a  burglar 
entering  a  house,  where  he  was  to  be  sur¬ 
prised  by  the  inmates,  upon  which  a  scuffle 
would  ensue  and  the  picture  was  to  finish 
outside  the  house  with  the  burglar  making 
his  escape. 

“I  acted  the  part  of  the  burglar  and, 
disguised  by  a  big  beard,  proceeded  to 
manipulate  the  lock  of  the  door  while  the 
camera  recorded  the  scene.  I  managed  to 
get  the  door  open,  and  there  I  waited  on 
the  threshold  while  the  camera  was  rushed 
round  to  the  inside  of  the  house. 

“The  photographer  then  proceeded  to  catch 
me  in  the  act  of  entering  the  house  and 
looking  nervously  round.  I  was  surprised 
in  the  most  natural  manner  by  the  houso 
owner.  We  scuffled  furiously  for  a  moment, 
then  I  broke  away.  The  camera  was  rushed 
outside  again  and  I  was  taken  bolting  from 
the  place. 

“The  amusing  thing  is  that  in  the  scuffle 
my  beard  was  torn  off  and  I  was  so  excited 
that  I  forgot  to  replace  it,  so  a  bearded 
burglar  was  shown  entering  the  house  and 
a  beardless  man  escaping. 

“Apart  from  the  incident  of  the  beard, 
the  film  was  such  an  advance  on  anything 
that  had  previously  been  shown  and  I  was 
so  delighted  with  it,  that  it  did  not  strike 
me  as  jnecessary  to  take  the  last  seen" 
again.  So  we  printed  it  just  as  it  was  and 
took  it  round,  selling  the  phenomenal 
number  of  400  copies,  which  up  till  then 
was  a  record  in  film  sales. 

“The  film  ran  to  300  feet  in  length.  The 
old  fifty-foot  films  were  all  wound  by  hand, 
but  this  was  so  long  that  we  had  to  fix 
an  automatic  winder  to  deal  with  it  pro¬ 
perly.  My  burglar  film  marked  a  step  for¬ 
ward  in  kinematography  in  this  country. 
It,  was  the  first  to  break  away  from  the 
single-scene  picture,  and  it  was  the  first 
to  be  wound  automatically. 

“I  worked  out  another  simple  story  which 
I  called  “Rescued  by  Rover.”  I  proposed 
to  photograph  a  child  falling  into  the  water 
and  a  dog  jumping  in  and  rescuing  him. 

“The  result  was  another  big  success. 
This  film  was  325  feet  long,  and  it  was  so 
popular  that  we  wore  out  two  negatives  in 
printing  off  the  copies  we  sold.  Orders 
kept  coming  in  for  it  from  all  over  the 
Continent,  and  I  remember  that  I  sold 
thirty  or  forty  copies  in  the  United  States, 
so  Britain  can  claim  the  credit  of  capturing 
the  American  film  market  long  before  the 
Americans  captured  our  home  markets. 

“  The  cost  of  producing  ‘  Rescued  by 
Rover  ’  is  decidedly  interesting.  The  film 
was  the  first  in  whicli  a  dog  acted  a  part, 
and  after  paying  the  salaries  of  actors  and 
all  other  expenses  the  cost  came  to 
£7  6s.  9d.” 


1  HE  MOTION  PICTURE  STUDIO 


December  2,  1922- 


COMPLETE  LIST  OF  ALL  THE  BRITISH  STUDIOS,  TOGETHER 
WITH  ADDRESSES,  TELEPHONE  NUMBERS, 


Atielqui  Millar  Protections. 

Address  :  1,  Leinster  Square,  W.2. 

A Ibert- Phillips  Film  Production. 

Address  :  3,  W ardour  Street,  W.l. 
Pjione  :  Regent  3282. 

Alliance  Film  Co. 

Studio  :  St.  Margaret’s,  Twicken¬ 
ham. 

Phone  :  Richmond  1945. 

Route  :  ’Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s.  Fare  : 
1st,  2s.  Of.,  3rd,  Is.  0£d.  ;  R.T., 
1st  3s.  Id.,  3rd  2s.  Id. 

From  Waterloo  :  A.m.,  every 
10  minutes  ;  from  St.  Margaret’s 
every  10  minutes. 

Artistic  Films,  Ltd. 

Address  :  93-95,  Wardour  Street. 

W.  1. 

Phone  :  Gerrard  3210. 

Film  :  “  The  Monkey’s  Paw.” 
Director  :  Manning  Haynes. 
Scenarist  :  Lydia  Hayward. 
Cameraman  :  Frank  Grainger. 
Stage  :  Fourth  week. 

Atlas  Biocraft. 

Address  :  16,  Albemarle  St.,  W. 
Gen.  Manager  :  Miles  Mander. 
Film  :  “  The  Man  without  Desire.” 
Director  :  Adrian  Brunei. 

Star  :  Ivor  Novello  and  Nina 
Vanna. 

Cameraman  :  Harry  Harris. 
Scenarist  :  Frank  Fowell. 

Stage  :  Seventh  week. 

Barkers. 

Address  :  Ealing  Green,  London. 
W.  5. 

Phone:  Ealing  211  and  1582. 
Route  :  District  or  C.L.R.  Tube  to 
Ealing  Broadway.  Piccadilly 
Tube,  change  at  Hammersmith. 
’Bus  Route  No.  17. 

Studio  Vacant. 

B.  &  C.  Productions. 

Address  :  Hoe  St.,  Walthamstow. 
Phone  :  Walthamstow  364  and  712. 
Route  :  'Bus  38.  Tram  81  to 
Bakers’  Arms.  G.E.R.,  Liver¬ 
pool  Street  to  Hoe  Street. 
Fare :  1st  Is.  2d.,  2nd  10£d., 
3rd  7d.  R.T.,  1st  Is.  9d.,  2nd 

Is.  4d.,  3rd  101d. 

From  L.S.  :  A.m.  7.58,  then 
everv  few  minutes  until  p.m., 
9.5,  *9.20,  9.35,  9.50,  10.5,  10.20, 

10.35,  10.50,  11.5,  11.20,  11.35, 

11.50,  12.5,  12.35  midnight. 

Hoe  Street  to  L.S.  :  A.m.,  7.53, 

8.2,  8.8,  then  every  few  minutes  ; 
p.m.,  8.20,  8.35,  8.50,  9.6,  9.20, 

9.35,  9.49,  10.6,  10.20,  10.36, 

10.50,  11.6,  11.20,  11.35,  12.2. 
Film  :  Historial  Incidents. 

Type  :  One  reelers. 

Stage  :  One  a  fortnight. 

Faron  Films. 

Address  :  95,  St.  Martin’s  Lane, 
W.C.2 


Beehive  Production. 

Film  :  Comedies. 

Production  Manager  :  Geoffrey 
Benstead. 

Director  :  George  Dewhurst 
Assistant  Director  :  Horace 

Corbyn. 

Scenarist  :  Percy  Manton. 

Stars  :  Jimmy  Reardon  and  Mar¬ 
garet  Hope. 

Cameraman  :  G.  Pauli. 

Stage  :  Scheduled. 

British  Famous  Films. 

Address:  “Woodlands,”  High 

Road,  Whetstone. 

Phone  :  Finchley  1297. 

Studio  Vacant. 

British  and  Oriental. 

Address  :  B.  P.  Studios,  Thornton 
House,  Thornton  Road,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Studio  Vacant. 

British  Photoplays 

Address  :  Devon  Chambers,  28. 

Fleet  Street,  Torquay. 

Not  Working. 

British  Productions. 

Address  :  Selbome  Road,  Hove. 
Film  :  Historial  Subjects. 
Director  :  Lieut.  Daring. 
Cameraman  :  Bert  Ford. 

British  Super  Films. 

Address  :  Worton  Hall,  Isleworth. 
Phone  :  Hounslow  212. 


Route  :  ’Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth. 
Fare  :  1st  Is.  Old.,  3rd  9d.  ; 
R.T.,  1st  Is.  9d.,~ 3rd  Is.  6d.  ; 

а. m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 
past  each  hour  until  11.51  p.m. 
Extra  trains,  4.43,  5.13,  5.43, 

б. 13,  6.43,  7.13. 

Isleworth  to  Waterloo :  8.33, 

8.44,  9.3,  9.14,  9.33,  9.44,  10.14, 

10.44.  Same  minutes  past  every 
hour  until  10.44,  11.14  p.m. 
Extra  trains  5.30,  6.0,  6.30. 

Film:  “  The  Hotel  Mouse.” 
Director  :  Fred  Paul. 

Stage  :  Completed. 


Film  :  “  A  Royal  Divorce.” 

Stage  :  Scheduled. 

Captain  Kettle  Films. 

Studios  :  Weir  House,  Broom 

Road,  Teddington. 

Daisy  Productions. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson 

Address  :  Lea  Bridge  Road,  E.  10. 
Phone  :  AValthamstow  634. 

Route  :  ‘Bus  Nos.  35  and  38. 
Trams  81,  55,  57. 

G.E.R.  from  Liverpool  Street 
to  Lea  Bridge  Road.  Fares : 
1st  Is.  2d.,  2nd  10£d.,  3rd  7d. 
R.T.,  1st  Is.  9d.,  2nd  Is.  4d., 


3rd  10£d.  A.m.,  10.34 ;  p.m., 

1.50,  3.5,  4.37,  6.27,  8.5. 

Lea  Bridge  to  Liverpool  Street  j 
A.m.,  8.26  ;  p.m.,  1.4,  5.27,  5.54, 
6.29,  7.7,  8.4,  8.57,  10.4. 

Film:  “  Weavers  of  Fortune.” 
Director  :  Arthur  Rooke. 

Star  :  Henry  Vibart. 

Cameraman  :  Leslie  Eveliegh. 

Stage  :  Completed. 

Dewhurst  Productions. 

Film  :  “  What  the  Butler  Saw.” 
Director  :  George  Dewhurst. 

Star  :  Stewart  Rome. 

Cameramen  :  G.  Pauli  and  S. 

Roseman. 

Stage  :  Starting. 

Film  :  “  The  Uninvited  Guest.’ 

Director  :  George  Dewhurst. 
Star  :  Stewart  Rome. 

Cameramen  :  G.  Pauli  and  S, 
Roseman. 

Stage  :  Starting. 

F  P.-Lasky. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
and  then  tram  No.  11. 

Studio  being  used  by  Grahame 
Cutts. 

Gaumont. 

Studio  :  Lime  Grove,  Shepherd’* 
Bush,  W.l 2. 

Phone:  Hammersmith  2090-1-2. 
Route  :  ’Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station 

Film:  “  Bonnie  Prince  Charlie,” 
Stage  :  Scheduled. 

Clen  Film  Productions. 

Address  :  20,  Lisle  Street,  W.C. 
Studio  :  “  Belgrave,”  Marine 

Terrace,  Aberystwyth. 

Not  working. 

Ceorge  uiark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Phone  :  Museum  3012. 

Film  :  “  The  Starlit  Garden.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Cameraman  :  Hal  Young. 

Stage  :  Starting. 

Crahame  Wilcox  Productions. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  ’Bus  38a,  to  North  Road, 
then  tram  No.  11. 

Film  :  Not  announced. 

Director  :  Grahame  Cutts. 
Stage  :  Starting  shortly. 

Cranger-Bmger. 

Address  :  191,  Wardour  St.,  W.  1, 
Phone:  Gerrard  1081  and  1728, 
Studios:  Haarlem,  Holland. 

Film  :  “  The  Hypocrites.” 

Stage  :  Fifth  week. 

Granville  Productions. 

Address:  61,  Berners  Street,  W.L 
Phone  :  Museum,  2528. 

Film  :  “  Hennessey  of  Moresby,” 
Stage  :  Starting  shortly. 


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Recommended  by  Wohl  s  as  the  only  suitable  Carbon 
for  their  Lamps. 

UNITED  KINGDOM  PHOTOPLAYS,  Lid 

29a,  CHARING  CROSS  ROAD,  W.C.2. 

’Phene  :  Gerrard  8742. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 

99 

Museum 
3607. 


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14 


December  2,  1922 


THE  MOTION  PICTURE  STUDIO 


FULL  PARTICULARS  OF  CURRENT  PRODUCTIONS,  ROUTES 
AND  FARES  FOR  REACHING  THE  STUDIOS 


Hardy. 

Address:  13,  Gerrard  St.,  W.l. 

Harma  Clarendon. 

Address  :  16,  Limes  Road,  Croydon 
Phone  :  Croydon  921  and  2081. 

Hepworth  Picture  Plays. 

Address  :  Walton-on-Thames. 
Phone  :  Walton  16. 

Route  :  From  Waterloo.  Fare  : 
1st  4s.  ll£d.,  3rd  2s.  6d.  ;  R.T., 
1st  7s.,  3rd  4s.  4£d. 

From  Waterloo :  A.m.,  7.0, 

8.0,  9.20,  10.20,  11.20;  p.m., 
12.20,  1.20.  2.20,  3.20,  4.20,  4.54, 
5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  8.20,  8.55,  9.20,  10.20, 
11.34. 

From  Walton  :  A.m.  7.59,  8.29, 
8.41.,  8.56,  9.9,  9.46,  10.10,  11.10. 
p.m.,  12.10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44,  6.10,  7.10,  8.10,  9.10, 

10.10,  10.35,  11.34. 

Productions  scheduled  but  not 
announced. 

Ideal 

Address  :  Boreham  Woods,  Elstree> 
Herts. 

Phone  :  Elstree  52. 

Route  :  Trains  from  St.  Pancras. 
Fare  :  1st  2s.  lid.,  3rd  Is.  9M.  ; 
R.T.,  double  fare.  A.m.,  7.30, 
8.0,  8.50,  9.55,  10.45,  11.48; 
p.m.,  12.33,  1.13,  2.35,  3.55,  4.45, 
5.12,  6.2,  6.45,  6.50,  7.20,  8.8, 
9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras : 
9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.3,  3.56,  4.56,  5.29.  6.18,  6.55, 
7.36,  8.54,  10.14,  11.3. 

Studio  Manager  :  F.  A.  Kendrick. 
Art  Director:  J.  T.  Garside. 


Film  :  “  This  Freedom.” 
Director  :  Denison  Clift. 
Star  :  Fay  Compton. 
Scenarist:  Denison  Clift. 
Stage  :  Fifth  week. 


Film  :  “  Harbour  Lights.” 

Director:  Tom  Terriss. 

Star  :  Tom  Moore. 

Cameraman  :  W.  Shenton. 

Stage  :  Cutting  and  assembling. 

Film  :  “  The  Hawk.” 

Director  :  Frank  Crane. 


Star  :  Chas.  Hutchison. 
Stage  :  Second  week. 


Film  :  “  Out  to  Win  ” 
Director  :  Denison  Clift. 
Stage  :  Scheduled. 


Film  :  “  Mary  Queen  of  Scots.” 

Director  :  Denison  Clift. 

Stage  :  Scheduled. 

International  Artists. 

Address:  52,  Shaftesbury  Av.W.  1 

Phone  :  6338. 

Film  :  “  God’s  Prodigal.” 

Star  :  Donald  Crisp. 

Cameraman  :  C.  McDowell. 

Isle  of  Man  Films. 

Address  :  The  Manx  Studios, 
Isle  of  Man. 

Not  working. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington, 

Phone  :  Kingston  1617. 

Route  :  From  Waterloo  to  Tedding¬ 
ton.  Fare  :  1st  2s.  7£d.,  3rd 
Is.  4d.  ;  R.T.,  1st  4s.  4|d.,  3rd 
2s.  8d.  From  Waterloo,  a.m., 
7.55.  Then  trains  every  few 
minutes  until  11.55  p.m.  From 
Teddington,  a.m.,  7.51.  Then 

trains  every  few  minutes  until 
11.1,  11.16,  11.51  p.m.  ’Bus  27. 

Minerva  Films. 

Address  :  110,  Victoria  St.,  S.W.l. 

Phone  :  Victoria  7545. 

Not  working. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 

Phone  :  Shoreham  19. 

Quality  Films. 

Studio  :  Windsor  Studios,  Catford. 

Phone  :  Lee  Green  948. 

Film  :  One  reelers. 

Director  :  George  A.  Cooper. 

Stars  :  Sydney  Folker  and  Joan 
McLean. 

Studio  Manager  :  S.  Folker 

Cameraman  :  R.  Terreaneau. 

Stage  :  One  a  week. 

Raleigh  King  Productions. 

Address  :  Watcombe  Hall,  Tor¬ 
quay. 

Studio  :  Vacant. 


Regulus  Films. 

Address  :  48,  Carnaby  Street, 

Regent  Street,  W.L 
Not  working. 

Seal  Productions. 

Address  :  171,  Wardour  Street. 

Phone  •  Regent  4329. 

Not  working. 

Screenplays. 

Address  :  Cranmcr  Court,  Clapham 
Phone  :  Brixton  2956. 

Route  :  ’Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll 

Address:  Temple  Road,  Crick le. 
wood 

Phone  :  Willesden  3293. 

Route  :  ’Bus  No.  16. 

Studio  Manager  :  J.  Grossman 
Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart 
Rome  and  Edith  Bishop. 
Cameraman  :  D.  P.  Cooper. 
Stage  :  Eighteenth  week. 

Film  :  “  Top  of  the  World.” 
Director  :  Maurice  Elvey. 

Stage  :  Scheduled. 


Film  :  “  Open  Country.” 

Director  :  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  David 
Hawthorne 

Cameraman  :  A1  Moise. 

Stage  :  Sixth  week. 


Film  :  “  Sherlock  Holmes.” 
Director  :  George  Ridgwell. 
Star  :  Eille  Norwood. 
Cameraman  :  A1  Moise. 
Stage  :  Starting  shortly. 


Film  :  “  The  Sign  of  Four.” 
Director  :  Maurice  Elvey. 
Star  :  Eille  Norwood. 
Camerman  :  Jack  Cox. 
Stage  :  Fourth  week. 


Film  :  “  The  Wandering  Jew.” 
Star  :  Matheson  Lang. 

Stage  :  Scheduled, 


Film  :  “  Guy  Fawkes.” 

Stage  :  Scheduled. 

J.  Stuart  Blackton. 

Address  :  Bush  House,  Alawych. 
Phone  :  Central  1935. 


Film  :  “  The  Virgin  Queen.” 

Director  :  J.  Stuart  Blackton. 
Star  :  Lady  Diana  Manners. 
Cameraman  :  Nicholas  Musurca. 
Stage  :  Sixth  week. 

Tcrquay&  Paignton  Photoplays 

Address  :  Public  Hall,  Paignton 
Not  working. 

Union  Films. 

Address  :  Strand  Street,  Liverpool 
Phone  :  Central  (Liverpool)  325 
Not  working. 

Walker  Boyd  Sunshine  Prcduc- 
tions. 

Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. 

Address  :  Princes  Studios,  Kew 
Bridge. 

Phone  :  Chiswick  574. 

Route  :  ’Bus  Nos.  27,  105. 

Broad  Street  to  Kew.  Fare  : 
1st  Is.  4d.,  3rd  9d.,  RT.,  1st 
2s.  0£d.,  3rd  Is.  4d.  A.m.,  8.2, 

8.20,  8.45,  9.0,  9.47,  10.17,  10  47, 

11.17,  11.47  ;  p.m.,  12.17,  12.47, 

1.17,  1.47,  2.17,  2.47,  3.17,  3.47, 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40, 
6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 
8.47,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street : 
A.m.,  9.40,  10.8,  10.38,  11.8, 
11.38;  p.m.,  12.8,  12.38,  1.8, 

1.38,  2.8,  2.38,  3.8,  3.38,  4.8,  1.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20, 

6.38,  7.8,  7.38,  8.8,  8.38,  9.8,  9.38, 
Film  :  “  The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Florence  Turner,  Kathleen 
Vaughan,  Norah  Swinburne,  Fred 
Wright,  and  James  Knight. 
Stage  :  Eleventh  week. 

Welsh  Pearson. 

Address  :  41-45,  Craven  Park, 
Harlesden,  N.W.  10. 

Phone  :  Willesden  2862. 

Route  :  ’Bus  No.  IS. 

Film:  "  The  Romany.” 

Star  :  Victor  McLaglen. 
Director:  Martin  Thornton 
Cameraman  :  Percy  Strong. 

Stage  :  Cutting  and  assembling. 

Film  :  Not  announced. 

Stage  :  Casting. 

Zodiac. 

Studio  :  Kingsbury  Studios. 

Film  :  Walter  Forde  Comedy. 
Stage  :  Scheduled 


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15 


THE  MOTION  PICTURE  STUDIO 


December 


THESE  ARE  HARD  LINES 

BUT  there  are  harder  lines  even 
than  these  that  surround  this 
page.  The  lines  of  many  a  film 
worker  have  not  fallen  in  pleasant 
places.  And  to-day  they  are  in 
desperate  straits.  This  fact  alone 
is  enough  to  prompt  those  who 
are  sympathetic— and  practical  in 
their  sympathy — to  do  all  that  is 
possible  to  meet  the  needs  of  the 
hour.  That  is  one  of  the  reasons 
that  prompted  us  to  reduce  the 
price  of  the  studio  worker’s  own 
professional  journal. 


Enclosed  is  half-a-crown . 
Put  me  on  your  mailing  list 
for  13  weeks. 

Name  . 

Address  . 


(New  Subscription  Rates: — 13  Weeks,  2/6, 
Six  Months,  5  /- ;  One  Year,  10/-  post  free  ) 

93,  LONG  ACRE,  LONDON,  W.C.2 


9 


Just  a  twist 
of  the  wrist 


and  you’ll  tear  this  corner 
of  the  page  off  —  sign 
it  and  post  at  once. 


*r 


J 


Printed  end  Publbdred  by  ODHAMS  PRESS  Ltd.,  Long  Acre,  December  2,  Ujit 


Edmund  Goulding,  author  of 


THE  PICTURE 

Starring 

Richard  Barthelmess 

and 

Dorothy  Gish 

for 

The  Inspiration  Picture 
Corporation  of  America. 


THE  BOOK 


A  Novel  of  Sea-madness 
and  Primitive  Passion, 

published  by 

Dodd  Mead  &  Co., 
of  New  York, 

simultaneously  with  the 
release  of  the  Picture. 


THE  MOTION  PICTURE  STUDIO 


December  9,  1922 


ATHALIE  DAVIS 

Juvenile  Leads, 
Comedy  &  Emotional  Parts. 

Latest  Film  :  „ 

“Hims  Ancient  and  Modern. 

“The  Last  100  Yards. 
Corns.  :  70,  Goldhurst  Ter¬ 
race,  Hampstead,  N.W.6. 
’Phone  :  Hampstead  4200. 


NOEL  GRAHAME 

Heavy  Character  &  Corned}'. 
Heavy  lead  :  “  Bladys  of  the 
Stewponey,"  “Cost  of  a  Kiss,” 
“  Britain’s  Naval  Secret,”  etc. 
n,  Clanricarde  Gardens, 

Hyde  Park,  W.2. 
Park  4514. 
and  Kinema  Club. 

Photo  bv  Navntia 


FLOR-NCE INGRAM 

90a,  LEXHAM  GARDENS, 
KENSINGTON,  W.8 
West  4519. 

British  Super  Productions, 
Davidson  ;  Beacon  Films, 
Daisy  Productions,  “Mrs. 
Stanton”  second  lead  in 
“  Gypsy  Blood.” 


MARGARET 

HOPE, 

Character  &  Juvenile  Leads. 

Late  Ideal,  Masters,  Stolls, 
etc.,  etc. 

5,  Balcombe  Street, 
Dorset  Square,  N.W.l. 
Padd.  -  284. 


ARTISTES 


GORDON  BEGG 

Dramatic — 'Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.ll, 

Telephone  :  Battersea  21. 


GORDON  HOPK1RK 

Leads- Ideal:  ‘Sybil,’  ‘Ernest 
Maltravers  ’  Direct:  ‘four 
Men  in  aVan.’  Masters  :‘Fra 
Diavolo,’ '  Bride  of  Lammer- 
moor,’  ‘  Faust,’  ‘  Maritana,’ 
‘Jane  Shore.’  ‘Stella  ’: 
P.  &  B  ‘  Settled  in  Full.’ 
B.  &  C  :  ‘The  Queen's  Secret.’ 
Artistic:  ‘The  Skipper’s 

Wooing’  Addr  ss: 

School  House,  Tower  Street, 
W  C  2  orKinema  Club. 


MELINDA  LLOYD 

Alliance,  The  Councillor’s 
Wife  in  “The  Card,”  Ideal, 
Samuelson,  Granville  Pro¬ 
ductions,  Laskys,  etc. 

24,  PARK  VIEW, 
WELLING,  KENT. 


GEORGE  KEENE 

Star  Lead.  Disengaged. 
Featuring — “  Black  Sheep,” 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters,” 
“Sweet  and  Twenty,”,  and 
“  Coster  Wooing,”  etc. 
Address  : 

121b,  Church  St.,  Croydon 
’Phone  :  Croydon  835. 


ROSINA  WRIGHT. 

‘Sister  Ursula”  in  “  Per- 
petua  Mary’(Famous-Lasky) 
“  The  Nurse”  to  “The  Grass 
Orphan”  (Ideal  Film). 
“Phillipa”in  “Open  Country” 
(Stoll  Film). 

8  years  Film  experience. 

8a,  GOLDERS  WAY, 
GOLDERS  GREEN, N.W.ll 
or  Kinema  Club. 


F.  C  R  E  M  L  I  N  . 

Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club 


THELMA 

MURRAY 

Character  &  Emotional  parts 
Leads  for  Stoll,  Masters, 
Raleigh  King,  B  &  C.,  etc. 
All  corns  :  “LYNDALE.  ’ 
OAKLEY  RD„ 
WHYTELEAFE,  SURREY , 
or  to  the  Kinema  Club. 


DOUGLAS  WEBSTER 

Juvenile  Character  Leads, 
stage  Experience, 
just  completed  “Leroy 
Lindsay”  in  “Shifting  Sands  ’ 
(Granville  Productions). 

All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av. 
’Phone  :  Regent  4329. 


MARY  ODETTE 


Just  concluded  :  “  The  Lion’s 
Mouse”  and  “The  Hypo¬ 
crites.’’ 

Latest  Releases  : 

“  Wonderful  Year,’ 

‘AH  Roads  Lead  to  Calvary.” 
All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury ,  Av.,  W .1 
Reeent  4  329. 


ADELINE  HAYDEN  COFFIN. 


Sympathetic  Mother,  Grande  Dames. 
Character  Parts,  “  Mrs.  Gatty,”  in  “Christie 
Johnstone  ”  (Broadwest),  “  Margaret  Howe 
in  “  Beside  the  Bonny  Brier  Bush  ”  (LaskyJ, 
“  Nanny  ”  in  “  Tell  your  Children  ’  (Interna¬ 
tional)  “Anna  ”  in  “  The  Prodigal  Son  ”  (Stoll). 

55.  Campden  St.,  Kensington.  W.8. 

Tel.  :  Park  3623. 


ARTISTES 


HUGH  MILLER 


6,  MILLMAN  ST., 
W.C.l. 


Telephone  : 
Gerrard  443  2 


ARTHUR  PUSEY 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagoon  for  I.\  .T.A 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 


PAIGE, 


CHARACTER 
ACTOR. 

INVITES  GOOD  OFFER.  Plus  or  minus  all  or 
any  portion  of  NATURE’S  Beard  and  Moustache. 
Beard,  etc.,  NOW  in  the  rough. 

Stoll,  Blackton,  Fox,  The  Windsor,  etc. 
VARIED  STAGE  EXPERIENCE. 
Address  :  See  “Who’s  Where.’ 

’Phone:  Streatham  264. 

CHARLES  LEVEY 

as  Captain  Gething  in  the  Artistic  Production, 
“  The  Skipper’s  Wooing.” 

At  present  playing  “  Earl  Paget”  in  the  J.  Stuart 
Blackton  Production  “The  Virgin  Queen.’ 
Address : 

IS,  STOKENCHURCH  ST.,  FULIIAM^S.W.6 

MAD  WILSON 

has  just  returned  from  Nice  after  taking 
an  adventurous  part  in  Maurice  Elvey  s 
production  1  ‘  The  Sign  of  Four.  .  Now 
doing  interiors.  Any  communications  to 

28a,  DANEHURST  STREET,  FULHAM,  S.W.6. 


HETTY  CHAPMAN 

Character  and  Comedy. 

18,  WYMER1NG  MANSIONS, 

MAIDA  VALE,  W. 


MILTON  ROSMER 

INVITES  OFFERS. 

16,  Weymouth  Street,  W.i.  ’Phone  :  Langham  2243 

MRS.  HUBERT  WILLIS, 

Character  and  Emotional  Parts. 

29,  St.  Peter’s  Square,  W.6.  ’Phone:  Hammersmith  85, 
or  Kinema  Club.  Regent  2131. 


MARIE  AULT, 

Character  and  Comedy. 

235.  King's  Road,  Chelsea. 


WARREN  HASTINGS, 

5,  FOND  PLACE, 
CHELSEA,  S.W.3. 

IN  V  IT  ES  OFFER  S. 

COSTUMIER.  .  .  . 


Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W, 

’Phone;  Gerrard  612, 


SCENARISTS  »  . 


GERALD  DE  BEAUREPAIRE, 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 

KINCHEN  WOOD, 

Late  Wm.  Fox  Studios,  Los  Angeles. 

7,  Wymering  Mansions,  Maida  Vale,  W.9 


JOHN  SALTER 


Established 

1896. 

CAMERAS.  PROJECTORS, 

LOCAL  TOPICALS, 

13,  Featherstone  Buildings,  Holborn,  W.C.l. 
’Phone — Chancery  7408. 


To  Kinema  Club  Members  and  others — ■„ 

PICTURE  POSTCARDS 
-SUPPLIED 


From  your  own  Photo,  in  best  glossy  style 
One  position,  per  gross 


17/6 

30/- 

3/6 

10/6 


Two  positions,  Half  gross  each  - 

Single  Dozen . 

Enlargements,  each  - 

Samples  can  be  seen  at 
4  HE  PICTURE  SALON, 
— •  88,  Long  Acre,  W.2.  — 


JOSEPH  BARR0S 

AT  LIBERTY . 

Past  three  years  assistant  to  Mr. 
George  Pearson  of  Welsh,  Pearson  & 
Co,,  Ltd. 

Experienced  in  Cutting,  Production 
Work,  etc.,  etc. 

All  communications : — 

66,  CRAVEN  PARK,  WILLESDEN,  N.W. 


2 


December  9,  1922 


THE  MOTION  PICTURE  STUDIO 


CAMERAMEN.  .  .  . 

ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN— 

:  SCIENTIFIC  OUTFIT.  ; 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  Street,  W.C.2. 

’Phone — Regent  2131. 


L.  G.  E  G  R  O  T 

EXPERT  CAMERAMAN. 

“The  Better  ’Ole,”  etc.,  etc., . 

. “  The  Wonderful  Story.” 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W. 2. 

’Phone  :  Streatham  3085. 


To  Kinema  Club  Members  and  others — • 

PICTURE  POSTCARDS 
- SUPPLIED - 

From  your  own  Photo,  in  best  glossy  style  : — 

One  position,  per  gross . 17/6 

Two  positions,  Half  gross  of  each  -  30/- 

Single  dozen  . 3/6 

Enlargements,  each  ------  10/6 

Samples  can  be  seen  at 
THE  PICTURE  SALON, 

8S,  Long  Acre,  W.C.2. 


LEICHNERS 

WORLD 
RENOWNED 


reiNt 

Uieknei 

SERUN 


Obtainable  from  all  Chemists 
and  Theatrical  Costumiers. 
Price  Sd ■  per  stick. 

If  any  difficulty  in  obtaining 
same  apply  direct  to 

Sole  British  Agents : 

VANITIES  LTD., 
15a,  Whitcomb  St. 

(Off  Leicester  Sq.), 

W.C.2 


GREASE 
PAINTS 

&  POWDERS 


WHO’S  WHERE. 


Several  directors  have  explained  to  us 
the  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 


“  'yHE  most  useful  column,  to  my  mind, 
and  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  is  ‘Who’s 
Where.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.  ” — 
CHALLIS  N.  SANDERSON. 

T  PERSONALLY  would  like  to  see 
-*■  more  artistes  using  vour  space  under 
the  heading  of  ‘  Who’s  Where.’  ”  — 

H.  B.  PARKINSON. 

11  'T’HE  column  which  is  of  most  service 
to  us,  and  which  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  ”  — 
NORMAN  WALKER  (Capt.),  Alliance  Films. 


ATWOOD,  ALBAN :  25,  Stanley  Crescent, 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.n.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercorn  Place,  N.W. 
Hampstead  3083. 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 
BROOKS,  JOSE,  9,  Lodge  Road,  St.  John's 
Wood,  N.W.8.  Paddington  6457. 
CANNING,  THOMAS  :  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 
CAREW,  JAMES,  15,  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3904 
CHESNEY,  ELIZABETH  :  c/o  Miss  Morris, 
25,  Clevedon  Gardens,  W.2.  (Fiat  4). 
Padd.  5844. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
Redcliffe  Gardens,  S:W.  10.  ’Phone: 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  I20A,  Kensington  Park 
Road,  W.i  1.  Park  2077. 

ESMOND,  ANNIE ;  43,  Richmond  Road, 
Westbomne  Grove,  W.2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

FANE,  DOROTHY :  12A,  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 

GRACE,  ADELAIDE,  103,  Morshead 
Mansions,  Maida  Vale,  W.  9. 

GRAFTON,  GEORGE  :  289,  Scott  Ellis 

Gardens.  St.  John’s  Wood,  N.W. 
Paddington  6928. 

GREGORY,  FRANK,  Character ,  107,  St. 
Alban’s  Avenue,  W.4. 

HARRIS,  GEORGE,  33,  Torrington  Square, 
W.C.l. 

HOWARD,  LIONELLE  :  108,  Alderbrook 
Road,  Balham,  S  W.i  2. 

JONES,  T.  ARTHUR:  “High  Ter.” 

Summer  Road,  Hampton  Court. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 
LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 
LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 

W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977. 


NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

PAXTON,  SYDNEY  :  28,  Bedford  Place, 
Russell  Square,  W.C.  Museum,  7235. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell,  S.E.5. 

RAYNER,  MINNIE  :  Kingwater  Cottage, 
Church  Walk,  Thames  Ditton. 

RAYNOR,  ALBERT  E.;  “Strathmore,” 
Spencer  Road,  Chiswick,  W.4. 

ROME,  STEWART:  10,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  32.  Lauderdale  Mans. 
Maida  Vale.  Maida  Vale  2177. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres- 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  15,  Grove 
Mansions,  North  Side,  Clapham  Com¬ 
mon  12.  Latchmere  4343. 

STEERMAN  A.  HARDING  :  56  Portland 
Road,  W.i  1.  Park  2529. 

STERROLL,  GERTRUDE:  14,  Queen’s 
Road.  St.  John’s  Wood,  N.W.8. 

TEMPLETON,  BEATRIX:  20,  Foxglove 
Street,  Wormholt  Estate,  W.  12. 

THATCHER,  GEORGE :  33,  Denbigh 

Street,  Belgrave  Road,  S.W.  Victoria 
2060. 

TOD,  MALCOLM  :  25,  Bryanston  Street, 

W  1.  Mayfair  5063. 

TREE,  MADGE;  15,  Lancaster  Court,  New¬ 
man  St.,  W.i.  Museum  7241. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 
2131. 

WALCOTT,  ARTHUR  :  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  2131. 

WILLIS,  HUBERT,  Mrs.,  29,  St.  Pe.er’s 
Square,  W.6.  Hammersmith  85. 

YORK,  CECIL  MORTON  :  Kinema  Club, 
9,  Great  Newport  Street.  Regent  2131. 

Two  lines,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a  year,  prepaid. 

Extra  lines,  is.  per  insertion. 


THIS  SPACE  TO  LET 
£ 2  10  0  for  13  insertions 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 

NOW  BACK  IN  LONDON. 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M’LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.I, 

'Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  2131. 


3 


THE  MOTION  PICTURE  STUDIO 


December  g,  1922 


ALL  COMMUNICATIONS  TO  BE  ADDRESSED  TO  THE  FIRM  ANO  NOT  TO  INDIVIDUALS 


LomJom  Q£*cc*  • 

S  *  7.  Pics  id. Mxntiont. 
$tufe«sbury  Arenu t  W  I 
Telephone  3*12 


TEDDINGTON. 

10th  mgwt  1922. 


Ernest  S.Allighan,  Esq., 
jhe  Motion  Picture  Studio, 
•93  Long  Acre  W.C.2. 


Deer  Sir, 

Acknowledging  yours  of  the  9th  X  desire 

to  say  that  X  consistently  cake  use  of  the  Picture 

Studio  when  casting.  X £  1  was  an  artist  I  would  certainly 
kaep  a  small  adfsrt  is  eases  t  running  through  your  gager.  I 
personally  would  like  to  s.'e  mote  artists  using  your  space 
under  the  heading  of  "IMS’S  WHERS" . 

faithfully  Yours, 


MASTERS  FILBS  Li'S. 


(H.B. Parkinson) 
Jtanaging  Director. 


QUALITY  FILMS 

HAVE 

QUALITY  CASTS 

SUPPLIED  BY 


THE 


Screen  &  Stage 
Booking  Offices, 

66,  Shaftesbury  Ave.,  W.  1 


Madge  Stuart 
Winifred  Macarthy 
Iva  Dawson 
Hugh  Miller 
Frank  Stanmore 
Olaf  Hytton 


Donald  Searle 


Joan  Maclean 
Hilda  Sims 
Wilfred  Fletcher 
M.  A.  Wetherell 
Shayle  Gardner 
Lionel  D’Aragon 


This  letter  Poes  not  constitute  an  Engagement  or  a  Contract. 


AND 


MANY  OTHER  NAMES  OF 

QUALITY. 


Artistes,  Directors,  Cameramen, 

Scenario  and  Continuity  Writers 

should  make  a  point  of  obtaining  the 

MOTION  PICTURE 

STUDIO 


The  only  organ  devoted  solely  to 
the  interests  of  those  concerned  in  the 
production  of  British  Motion  Pictures. 


READY  EACH  SATURDAY,  Price  2° 

Subscription  Rates  -  -  3  months,  2/6;  6  months,  5/-;  Yearly,  10/-,  post  free. 

Advertisement  Rates  on  application  to 

The  Manager,  MOTION  PICTURE  STUDIO,  93,  Long  Acre,  London,  W.C.2 

’Phone:  (ierrard  9870.  Telegrams:  Southernwood,  Band,  London. 


4 


December  9,  1922 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93  Long  Acre, 
London,  W.C.2, 


Vol.  2  No.  79 


Telegrams — 
Southernwood, 
Rand,  London 
Telephone — 
Gerrard  9870. 


Dec.  9,  1922 


jVJOW  that  the  first  of  the  big  German 
^  ^  pictures  which  have  been  on  the 
carpet  so  long  have  just  got  on  the  screen, 
we  have  an  opportunity  of  surveying  this 
field  of  competition.  As  to  the  quality 
of  the  work  a  considered  opinion  will 
detect  little  of  the  menace  that  has  been 
seen  in  it  by  so  many  film  people,  who, 
not  so  long  ago,  openly  dreaded  the 
invasion.  The  fears  were  largely  fears 
of  the  unknown — exhibitors  were  frightened 
at  the  prospect  of  possible  public  resent¬ 
ment  at  the  showing  of  an  ex-enemy’s 
production,  producers  were  afraid  that 
the  German  output  was  going  to  include 
artistes,  effects  and  settings  which  would 
revolutionise  our  current  ideas.  This  is 
what  we  refer  to  as  the  fear  of  the  un¬ 
known.  But  the  wisdom  of  not  crossing 
a  rotten  bridge  until  you  reach  it  is  well 
exemplified  when  we  see  ‘  Passion. 
The  star  is  good,  but  there  are  many 
better ;  the  crowd  scenes  are  at  times 
magnificent,  but  by  no  means  epoch- 
making  ;  the  lighting  and  photography 
are  far  from  perfect  ;  the  work  of  the 

scenarist  is  no  more  than  straightforward. 

*  *  * 

CO  there  is  little  reason  for  the  ex- 
travagantlv  timorous  outlook  which 
has  characterised  the  film  industry  as  a 
whole  on  this  subject.  On  the  other  hand 
there  are  reasons  to  believe  that  successive 
German  productions  should  mark  a  distinct 
advance.  For  instance.  Passion  was 
shown  in  Germany  in  1918  ;  that  is  to  say, 
not  only  was  it  produced  under  war-time 
handicaps,  but  in  any  case  it  is  over  four 
years  old.  Then  it  was  designed  on 
propaganda  lines,  with  the  deliberate  in¬ 
tention  of  fostering  and  encouraging  anti- 
French  sentiments.  Thus  the  abilities 
of  the  men  who  worked  upon  it  were 
obviously  devoted  to  two  targets,  instead 
of  being  concentrated  upon  the  making  of 
a  finished  work  of  art.  Naturally,  all  the 
parts  which  were  incorporated  for  the 
purpose  of  propaganda  have  been  excised 
with  a  heavy  hand,  and  the  continuity 
suffers  accordingly.  Then  immediately 
after  the  end  of  the  war  it  was  sent  to 
America,  and  ever  since  March,  1919, 
has  been  badgered  from  pillar  to  post  in 

the  hopes  of  an  English  show. 

*  *  * 

TN  view  of  this  chequered  history  it 
would  be  unwise,  therefore,  to  regard 
“  Passion  ”  as  an  example  of  the  best  that 
Germany  can  offer,  but  it  is  at  least  of 
value  in  showing  that  good  productions, 
if  not  outstanding  supers,  are  ready  to 

Every  Film  Artiste 


take  their  place  amongst  the  ranks  of  the 
pictures  ready  to  compete  with  our  own 
works.  As  a  matter  of  fact  there  are  a 
further  five  or  six  ready  to  be  shown  on  our 
screens  now  that  the  ice  has  been  broken. 
Some  of  these  date  back  to  1916,  so  it  is 
at  least  probable  that  their  general  level 
will  not  be  appreciably  higher  just  yet  than 
that  of  Passion.”  Furthermore,  they 
also  have  had  a  chequered  financial  career 
and  have  been  passed  from  hand  to  hand 
on  both  sides  of  the  Atlantic,  and  each  of 
the  middlemen  and  speculators  who  have 
touched  them  has,  not  unnaturally,  secured 
a  rake-off  for  himself.  So  the  prob¬ 
ability  of  their  underselling  our  own  works 
is  rather  remote. 


IN 

TWO 

WEEKS’ 

TIME 

The  Second  Xmas  Number 
of  the 

“ Motion  Picture  Studio ” 
will  be  published 

THE 
IDEAL 
MEDIUM 
FOR  ADVERTS. 


j  T  is,  after  all,  an  important  consideration 
on  our  side  of  the  industry — the  sort 
of  price  the  exhibitor,  who  is  the  necessary 
middleman,  considers  an  economically 
fair  one  to  pay  for  a  picture.  The  point 
of  view  in  question  suffers  from  insufficient 
weight  being  given  to  it  by  one  side,  and 
a  totally  unwarrantable  importance  by  the 
other,  who  can  see  no  further  than  the 
ends  of  their  noses.  This  class  of  film 
man  cannot  see  that  he  has  to  establish 
and  maintain  a  public  reputation  for 
good  entertainment  first  and  foremost, 
and  his  future  is  bound  up  in  the  esteem 
of  his  patrons.  But  still  many  will  go 
on  the  basis  of  refusing  or  accepting  a 
film  upon  no  other  basis  than  that  of  its 
price. 


jy/|EAN WHILE  there  are  our  own  peo¬ 
ple  to  think  about.  There  is,  and 
always  will  be,  room  on  the  screens  of  the 
country  for  the  pictures  that  are  good 
enough.  In  addition  our  own  producers 
have  a  strong  card  to  play  which  is  little 
realised.  The  best  of  the  foreign  stuff 
that  we  see  fails,  and  the  quite  second-rate 
British  stuff  succeeds,  in  giving  a  really 
intimate  homely  atmosphere  which  counts 
very  largely  in  the  grip  established  on  the 
patron.  Nobody  fully  understands  how 
much  this  counts,  but  any  unbiassed  critic 
who  sees  a  picture  of  the  stamp  of  ”  The 
Skipper’s  Wooing,”  “  Squibs,”  “  The 
Mayor  of  Casterbridge,”  or  “  Fox  Farm,” 
knows  exactly  what  it  is  that  marks  so 
great  a  difference  as  compared  with  the 
product  of  any  other  country,  however 
artistic. 


WHAT  we  have  to  establish  is  the 
fact  that  the  patrons  want  to  see 
their  own  people  on  the  screen.  This  is 
a  live  subject,  and  when  more  fully  under¬ 
stood  the  demand  will  have  to  be  met. 
This  is  all  to  the  good  as  far  as  the  pros¬ 
pect  of  screen  work  for  our  artistes  is 
concerned  in  the  future,  but  it  has  to  be 
faced  promptly  for  two  reasons  :  first,  the 
need  for  work  amongst  perfectly  efficient 
actors  and  actresses  is  urgent,  and  secondly, 
it  is  one  of  the  conditions  of  the  industry 
that  the  wants  of  next  year  must  be  an¬ 
ticipated  now. 


I N  this  connection  an  important  move 
is  being  made  by  the  British  producers 
and  renters  who  are  organising  a  big  drive 
for  our  home  product  next  September. 
The  publicity  to  be  devoted  to  the  scheme 
will,  of  course,  not  immediately  affect  the 
professional  side  of  the  industry,  although 
indirectly  its  results  will  be  vital.  On  the 
other  hand  the  present  problem  that  is 
going  to  be  of  direct  interest  is  in  the 
selection  by  the  different  producing  units 
of  pictures  which  will  be  considered  worthy 
of  inclusion  in  the  British  Film  Week. 
To  select  a  series  of  pictures  upon  which 
will  be  focussed  the  attention  of  the  nation 
is  no  light  undertaking.  The  pictures 
are  frankly  window-dressing ;  if  they 
are  good  a  big  and  decisive  step  will  have 
been  taken  in  giving  British  audiences  the 
opportunity  of  fostering  their  native  art  ; 
if  they  fall  below  the  level  of  the  first- 
class,  then  the  audiences  will  infallibly 
consider  the  word  “  British  ”  attached  to 
a  picture  in  exactly  the  opposite  sense  that 
all  its  truest  friends  would  have. 


should  sign  and  post  the  Form  on  Page  Six. 


5 


THE  MOTION  PICTURE  STUDIO 


December  9,  1922 


FIGHTING  GERMAN  FILMS 


by  ERNEST 

^IGNS  are  not  wanting  that  the  film 
artistes  are  impatient  to  be  organised 
into  some  body  that  will  protect  their  in¬ 
terests  and  advance  their  status.  Well  over 
100  artistes  have  filled  in  the  forms  (we 
print  another  on  this  page)  requesting  that 
notice  of  the  forthcoming  meeting  should  be 
given  them,  and  from  all  quarters  we  have 
received  promises  of  support. 

At  this  meeting  there  will  be  three  items 
on  the  agenda  :  Discuss  the  formation  of  a 
separate  Film  Artistes’  Federation;  discuss 
the  formation  of  a  Film  Artistes’  Branch  of 
the  Actors’  Association  ;  appoint  a  committee 
to  decide  on  ways  and  means  of  achieving 
which  of  these  two  suggestions  the  meeting 
decides  upon.  There  are  so  many  sides  to 
this  important  question  that  I  am  afraid 
merelv  to  state  them  in  these  columns  will 
not  be  sufficient  adequately  to  deal  with 
them.  And  there  must  be  many  considera¬ 
tions  that  artistes  ought  to  have  the  oppor¬ 
tunity  of  viewing  and  discussing.  There  are 
some  artistes  who  feel  exercised  in  their 
minds  on  account  of  the  vast  army  of 
“crowd”  players;  others  on  account  of  the 
interchange  of  stage  artistes  and  screen 
artistes  ;  others  on  account  of  the  constitu¬ 
tion  of  the  Actors’  Association. 

My  feeling  is  that  these  are  important 
points  that  cannot  be  dealt  with  to  every¬ 
body’s  satisfaction  in  these  columns.  Those 
who  hold  opinions  on  these  matters  should 
have  the  opportunity  of  airing  them. 

It  is  significant  that  where  the  interests 
of  film  artistes  are  concerned  at  the  •present 
time  the  Actors’  Association  is  the  only  body 
able  and  willing  to  do  anything,  and  this 
is  done  despite  the  fact  that  the  film  artistes 
who  will  benefit  are  not  members.  The  most 
recent  instance  of  this  came  to  my  notice 
this  week,  and  I  invited  Alfred  Fugg  (the 
general  secretary)  to  give  our  readers  the 
facts.  He  writes  :  — 

Some  time  ago,  owing  to  the  difference  in 
the  rate  of  exchange,  many  of  the  large 
American  film  directors  became  conscious 
of  the  fact  that,  by  transferring  the  whole  of 
their  producing  business  to  Germany,  and 
taking  advantage  of  the  difference  in  the 
rate  of  exchange,  they  could  flood  the  Ameri¬ 
can  market  with  films  produced  in  Germany 
bv  German  actors ,  but  under  American  direc¬ 
tion,  at  a  much  lower  rate  than  it  was  pos¬ 
sible  to  produce  in  U.S.A.  This  was,  it  is 
alleged,  at  any  rate,  one  of  the  most  fruitful 
causes  of  the  slump  in  American  film  pro¬ 
ducing,  and  it  was  found  necessary  by  the 
Actors’  Equity  Association  of  America  to 
agitate  in  Congress  for  the  imposition  of 


G.  ALLIGH AN 

an  ad  valorem  tax  in  order  to  protect  the 
film  industry  of  America. 

It  appears  that  the  British  film  industry 
is  no  more  immune  from  such  under-cutting 
of  the  market  as  is  the  American  kinema 
stage,  and  many  British  artistes  will  view 
with  great  regret,  and  possibly  with  very 
deep  indignation,  the  fact  that  a  film  which 
is  alleged  to  be  a  German  product  has  now 
been  imported  into  London,  at,  I  under¬ 
stand,  a  ridiculously  low  price. 

It  is  quite  possible  that  this  initial  step 
may  be  followed  by  many  others,  and  should 
it  develop,  as  it  most  likely  will,  it  is  not 
difficult  to  conceive  a  time  very  near  ahead 
when  the  British  film  artiste  will  no  longer 
be  able  to  secure  engagements  in  his  own 
country,  and  when  home  productions  will 
no  longer  be  possible  if  the  market  is  cut 
and  cut  by  the  German  film. 

Mr.  Lugg,  I  understand,  was  instructed 
by -his  Council  to  take  certain  steps  and  to 
register  the  protest  of  the  Actors’  Associa¬ 
tion  against  this  unfair  practice,  and  to  urge 
the  Government  to  place  some  duty  on 
cheaply  imported  German  films. 

Surely  this  must  be  a  lesson  to  the  British 
film  artiste  that  a  strong  organisation  is  re¬ 
quired  to  back  them  up  in  all  endeavours 
to  protect  their  livelihood?  I  would  like  to 
invite  all  those  interested  in  such  an  organi¬ 
sation  to  take  advantage  of  the  fact  that 
there  is  already  an  Actors’  Association  in 
full  operation  which  has  done  much  in  deal¬ 
ing  with  these  evils  which  exist  in  the  Film 
Industry.  A  great  deal  more  could  be  done, 
given  adequate  and  enthusiastic  support,  by 
all  film  actors  and  actresses. 

When  dangerous  lights  threatened  the  eye¬ 
sight  of  artistes  engaged  in  films,  it  was  the 
Actors’  Association  which  successfully 
agitated  for  proper  safeguards.  An  endeavour 
was  made  quite  recently  to  negotiate  a  mini¬ 
mum  Standard  Contract  for  the  lower-paid 
film  artistes,  and  they  were  met  with  a  re¬ 
fusal  by  the  directors  to  meet  them,  because 
it  was  alleged  they  did  not  represent  40  per 
cent,  of  those  habitually  engaged  in  film 
studios. 

I  can  now  state  that  the  Council  of  the 
Actors’  Association  is  perfectly  willing  for 
the  Film  Artistes’  Branch  to  be  governed  by 
its  own  appointed  Executive  Committee,  and 
that  every  assistance  will  be  given  it  to 
make  itself  very  powerful  in  the  protection 
of  the  interests  of  the  film  acting  profession. 
I  again  urge  all  who  have  not  signed  the 
form  to  do  so  at  once  :  the  meeting  will  be 
called  in  the  New  Year.  Sign  and  post  now. 


Sitfn  and  post  to  93,  Long  Acre,  W.C.  2.  atfyennv  Sfanrp.) 

Please  send  me  notice  of  meeting  to  he  held  to 
discuss  the  formation  of  a  protective  organisation 
for  Film  Artistes. 

Name  . 

Full  ( private )  Address 


Every  Film  Artiste  should  sign  and  post  the 


HEPWORTH’S 

METHODS 

FURTHER  to  the  extracts  from  Cecil 
Hepworth’s  article  from  Pearson's 
Magazine,  given  in  our  last  issue,  the 
following  gives  a  little  insight  in  the 
methods  of  work  of  this  pioneer  director  : 

“  For  ordinary  scenes  I  never  have  more 
than  one  camera  at  work,  and  I  do  my  best 
to  maintain  one  point  of  view  throughout 
the  whole  play.  In  battle  scenes,  or  scenes 
in  which  crowds  take  part,  it  is  wise  to 
have  more  than  one  camera  at  work,  because 
there  may  be  some  unexpected  incident 
which  will  make  the  picture. 

“  Such  scenes,  like  the  photographing  of 
children,  have  a  big  element  of  luck  about 
them,  however  much  they  are  rehearsed,  and 
the  careful  director  will  take  the  scene  from 
as  many  points  as  possi)ile  in  order  to  miss 
nothing  which  may  prove  useful.  I  have 
heard  of  as  many  as  twenty  cameras  being 
used  in  one  big  scene,  but  I  have  never 
used  half  as  many  myself. 

“  Unlike  some  directors,  I  never  use  a 
megaphone  while  at  work,  nor  do  I  let  my 
characters  make  up.  I  aim  at  making  my 
characters  as  natural  as  possible,  and  I 
maintain  that  the  human  face  cannot  portray 
all  the  emotions  when  it  is  covered  up  with 
grease  paint.  A  covering  of  grease  paint 
must  mask  the  expression. 

“  ft  is  in  order  to  make  my  pictures 
appear  natural  that  f  always  work  in  a  day¬ 
light  studio.  I  use  the  bright  electric  arc 
lamps  as  seldom  as  possible,  and  then  only 
when  absolutely  compelled.  By  imposing 
these  conditions  on  myself  I  probably  make 
my  film  work  more  difficult,  but  there  is  no 
doubt  in  my  mind  that  it  is  also  more 
natural. 

“  When  I  am  going  to  direct  a  picture  I 
first  of  all  select  the  people  to  play  the  parts. 
I  pick  out  the  players  who  approximate  to 
the  type  I  have  in  mind,  give  them  the 
script  to  read  and  go  through  it  with  them. 

“  Say  that  the  principal  part  is  that  of  a 
gamekeeper.  The  actor  and  I  will  talk 
over  the  part  together  and  go  into  it  very 
minutely.  I  will  sketch  out  to  the  actor 
the  character’s  past  life,  tell  him  the  things 
he  did  as  a  boy,  show  h^aj  what  his  father 
and  mother  were  like  and  the  manner  in 
which  his  grandparents  lived.  We  talk 
about  them  as  though  they  were  living 
people,  and  in  this  wav  the  actor  becomes 
so  immersed  in  his  part,  so  steeped  in  the 
atmosphere  of  it,  that  for  the  time  being 
he  actually  becomes  a  gamekeeper,  and 
thinks  like  one  and  behaves  like  one. 

Once  I  set  the  camera  to  work  I  never 
see  the  picture  until  it  is  quite  finished, 
when  I  have  it  screened  in  our  private 
theatre. 

“  As  for  the  film  doctor,  who  plays  such 
a  big  part  in  cutting  the  films  of  some 
directors,  I  have  no  use  for  him.  The 
finest  film  doctor  in  the  world  cannot  turn 
a.  bad  film  into  a  good  one,  and  I  hold  the 
opinion,  born  of  twenty -two  years  of  experi¬ 
ence,  that  the  right  time  to  cut  a  film  is 
before  you  take  a  single  photograph.  At 
any  rate,  that  is  when  I  cut  down  the  length 
of  my  plays. 

“Many  films  shown  to-day  are  much  too 
complex.  I  believe  in  simplicity.  Just  as 
I’hil  May  used  to  do  a  drawing  and  then 
take  out  all  the  lines  that  w.ere  not  essential, 
so  I  arrange  my  scenes  in  my  mind  and 
then  eliminate  all  movements  that  are  not 
absolutely  necessary  to  carry  on  the  story. 
In  this  way,  I  believe,  the  most  artistic 
results  may  be  achieved.” 

Form  on  this  Page. 


6 


December  9,  1922 


THE  MOTION  PICTURE  STUDIO 


Wjqft  X-cqAtb, 

Inti/male  Studio  Q os  sip 


pred  Le  Roy  Granville,  the  burly 
Australian  who  directed  Shifting 
.Sands  ”  in  Tripoli,  has  an  interesting 
.story  to  tell  of  his  discovery  of  old 
Roman  relics  while  there.  Mr.  Gran¬ 
ville,  who  is  something  of  an  antiquary 
bim self,  found  several  Roman  coins, 
remnants  of  'weapon s ,  (and  not  far 
from  Tanguira  unearthed  a  Roman 
bath  which  was  in  a  very  fair  state  of 
preservation.  Mr.  Granville  informs 
me  that  “  Shifting  Sands,”  which  is 
being  handled  by  Film  Booking 
Offices,  Ltd.,  and  was  Trade  shown, 
will  be  shown  in  all  kinemas  early  in 
April  of  next  year. 

During  his  recent  visit  to  Egypt 
Warwick  Ward  was  greatly  sur¬ 
prised  to  find  that  Luxor,  a  fairly  large 
place,  and  a  popular  winter  resort, 
was  without  a  picture  theatre,  and 
that  a  great  many  natives  had  never 
seen  a  moving  picture  or  understood 
what  it  was.  “  Consequently,”  he 
says,  “our  camera  was  a  great  source 
of  interest,  as  the  natives  were  puzzled 
to  know  what  it  was  loir:  and  what 
we  were  doing.  One  day  when  I 
walked  in  front  of  the  camera  and 
started  playing  a  mad  scene,  they 
attributed  my  extraordinary  change  to 
the  ‘  devil  box  ’  as  they  called  it,  and 
for  several  days  both  the  camera  and 
myself  Were  viewed  at  a  distance  with 
suspicion.  ” 

Whilst  at  Luxor  he  visted  the 
famous  “  Valley  of  the  Kings,” 
exploring  a  number  of  the  wonderful 
tombs,  which,  by  the  way,  are  lighted 
throughout  with  electric  light,  in  spite 
of.  the  fact  that  “  the  valley  ”  js  miles 
from  Luxor  and  on  the  edge  of  the 
desert.  He  also  watched  the  excava¬ 
tions  then  in  progress  'there  which 
has  resulted  in  the  greatest  archaeologi¬ 
cal  discovery  of  modern  times,  that  of 
a  Tomb  of  a  Pharaoh  1350  B.c. 

An  exceptionally  strong  cast  has  now 
commenced  work  in  a  Berlin 
studio  under  the  direction  of 
'George  W.  Dewhurst,  wihd  recently 
scored1  so  heavily  with  “  A  Sister  To 
Assist  ’Er.  ”  A  company  has  been 
formed  under  the  title  of  George 
Dewhurst  Productions,  and  two  pic¬ 
tures  of  unusual  interest  are  being 
made  practically  simultaneously. 
Stewart  Rome,  Madge  Stuart  and 
Arthur  Walcott,  Richard  Lindsay, 
■Cameron  Carr  will  be  the  leading 
players,  supported  by  Olaf  Hytten, 
Teal  Douglas,  Cecil  Morton  York  and 
Linda  Moore;  and  the  camera  work  is 


in  the  safe  hands  of  Gustav  Pauli. 
The  entire  company  left  for  the  Con¬ 
tinent  last  week-end  to  join  the 
director,  who  has  completed  all 
arrangements. 

It  is  anticipated  that  the  interiors  will 
be  finished  by  the  end  of  this  month 
■ — an  achievement  rendered  possible  by 
the  magnitude  of  the  studio'  and  the 

TRADE  SHOW 
GUIDE 

npH’E  only  British  film  to  be  Trade  shown 
this  week  is  the  Davidson  production, 

“  WEAVERS  OE  FORTUNE,” 
which  was  directed  by  Arthur  Rooke  and 
photographed  by  Leslie  Eveleigh. 

Henry  Vibart  is  the  star,  and  is  supported 
by  Dacia,  Myrtle  Vibart,  Derek  Glynne, 
Robert  English,  George  Turner  and  Mrs. 
Hubert  Willis. 

Trade  Show:  Thursday.  December  14,  at 
the  New  Gallery  Kinerna.  at  11  a.m. 


efficiency  of  German  methods  of 
erecting"  sets.  Some  of  the  exteriors 
will,  of  course,  be  made  in  England. 
The  first  of  the  subjects  is  the  well- 
known  stage  comedy  of  Edward  A. 
Parry’s,  “  What  the  Butler  Saw,” 
which  some  few  years  ago1  had  a 
successful  West  End  and  provincial 
vogue.  The  other  subject  is  called  at 
present  “  The  Uninvited  Guest,”  and 
is  a  drama  of  a  strong  character  from 
the  pen  of  Mr.  Dewhurst  himself. 

Heard  rather  a  good  story — a.  true 
one — about  a  young  man  who 
secured  through  a  certain  agent  a  three 
days’  crowd  job.  The  youth  in  ques¬ 
tion  had  never  before  been  inside  a 
studio,  and  feeling"  pleased  with  him¬ 
self  and  his  experience  duly  returned 
to  the  agent  with,  the  commission 
when  his  three  days  were  completed. 
He  asked  to  see  the  agent  personally, 
and  after  a  great  deal  of  trouble 
succeeded  in  getting  a  hearing1  from 
the  great  man.  He  had  a  proposition 
to-  put  up.  He  had  been  very 
observant  at  the  studio  and  hadl  taken 
everything  in;  he  now  felt  confident 
that  he  thoroughly  understood  the 
business,  and  that  if  the  agent  could 
get  him  a  job  as  a  director  he —  But 
here  the  agent  interrupted  him  and  he 
d roppe d  the  idea. 

Herman  Macdonald  has  returned  to 
screen  work  and  is  now  Director- 
General  for  a  new  company  known  as 
Gems'  of  Art  Film  Company,  Ltd. 
THe  exact  nature  of  the  films  the 
company  will  produce  are  being  kept 
secret,  but  they  are  to  be  novelty  sub¬ 


jects,  quite  a  different  kind  of  picture 
from  anything  yet  made.  The  company 
hopes  to  commence  work  on  its  first 
film  at  the  old  George  Clark  studios 
in  Ebury  Street  next  week.  E.  L. 
Groc  has  been  engaged  as  cameraman, 
and  the  company’s  office  is  situated  at 
1,  Bear  Street,  opposite  Daly’s 
Theatre.  Artistes  who  are  known  to 
Mr.  Macdonald  are  asked  toi  get  in 
touch  with  him  right  away,  as  he  is 
casting  almost  immediately.  His 
’phone  number  is  Gerrard  4779. 

Sydney  Paxton  writes  me  from 
Holland  to<  tell  me  of  some  of  his 
joys  and  sorrows  in  the  land  of  dykes 
and  canals.  He  has  been  playing  for 
Hollandia  in  ‘‘The  Hypocrites, ”  a 
screen  version  of  Henry  Arthur  Jones’ 
play.  Flis  part  in  the  film  was  com¬ 
pleted  last  week,  but  he  stayed  on  in 
Holland  to-  appear  at  Staatstheater, 
Haarlem,  in  “  Charley’s  Aunt.”  He 
has  had  many  interesting  experiences, 
including  a  visit  to>  one  of  the  local 
theatres,  where  he  witnessed  “Welcome 
Stranger  ”  in  Dutch,  with  a  Dutch 
artiste  who  usually  plays  Hamlet  in 
Harry  Green’s  part.  Sydney  returns 
to  England  to-day  and  no  dloubt  will 
not  be  allowed  a  very  long  “resting  ” 
period. 

Edmund  Goulding,  who  is  returning 
to  England  next  week  is  one  of  the 
leading-  scenarists  of  the  world,  left 
these  shores  just  ten  year's  ago.  to  learn 
the  film  business  in  America..  In  the 
States  his  first  position  was  as 
assistant-cameraman.  After,  he  was 
in  turn  assistant  in  the  laboratory, 
film-cutter',  actor  and  director ;  recently 
he  has  been  lecturing  on  the  film 
Industry  and  screen-writing  at  the 
Colombia  University.  On  his  arrival 
in  England  next  Mondav,  he  will  be 
met  by  the  Mayor  of  Southampton 
and  will  attend  a  reception  at  the 
Rialto  Super  Cinema,  where  one  of  his 
films  will  be  showing.  On  the  Tues¬ 
day  evening  he  will  attend  a  dinner  at 
the  Carlton  with  Chas.  Duelt  (Inspira¬ 
tion  Pictures),  the  host  of  the  evening 
being  S.  Rowson,  of  Ideal.  All  his 
business  arrangements  on  this  side  are 
in  the  hands  of  his  younger  brother 
Chris,  who  is  in  charge  of  the  publicity 
department  of  Zeitlin’s  Agency  at 
j  ‘  32,  Shaftesbury  Avenue. 


7 


THE  MOTION  PICTURE  STUDIO 


December  9, 


ZofmhJi  tA&C/  <uAji  €Jurvot  — — — 

- toAat  <lo6ruq 


Lilian  Hall  Davies  .is  playing  for  G.  B. 
Samuelson  in  “A  Royal  Divorce.” 

Ward  MacAllisler  is  playing  for  Ideal  in 
‘■The  Hawk.” 

Mary  Dibley  is  with  Sainuelson  in  “A 
Royal  Divorce.” 

A.  B.  Imeson  is  playing  for  Quality  in 
“Pearl  for  Pearl  ”  in  a  one-reel  drama. 

Gerald  Ames  is  playing  one  of  the  leading 
roles  for  Sainuelson  in  “A  Royal  Divorce.” 

Dezma  Du  May  is  to  play  for  Quality  in 
“Pearl  for  Pearl.” 

Mary  Rorke  has  left  for  Rome  to  play  in 
■‘The  Starlit  Garden”  for  George  Clark. 

Victor  McLaglen  is  walking  to  Stoke-on- 
Trent  to  appear  at  the  carnival  there. 

W.  G.  Saunders  is  playing  for  Quality  in 
“Pearl  for  Pearl.” 

G.  B.  Sainuelson  is  directing  “A  Royal 
Divorce  ’’  for  Samuelson’s. 

Edith  Bishop  has  got  back  from  Nice, 
where  she  has  been  playing  in  the  exteriors 
of  “The  Prodigal  Son”  for  'Stoll. 

Olaf  Hytten  has  gone  to  Germany  to  play 
for  George  Dewhurst  in  “The  Uninvited 
Guest  ’’  and  “What  the  Butler  Saw.” 

Guy  Newall  left  for  Italy  on  Wednesday 
to  film  the  exteriors  of  “The  Starlit  Garden  ” 
for  George  Clark. 

Stewart  Rome  is  now  in  Germany  playing 
for  Dewhurst  in  “The  Uninvited  Guest  ”  and 
“  What  the  Butler  Saw.” 

Gwilym  Evans  is  going  to  France  and 
Belgium  with  Samuelson  to  play  in  the 
exteriors  of  “A  Royal  Divorce.” 

Lawford  Davidson  left  for  Italy  on  Wed¬ 
nesday  to  play  for  George  Clark  in  “The 
Starlit  Garden.” 

Alban  Atwood  has  been  engaged  by  Stoll 
for  an  important  part  in  “The  Sign  of 

IJ  J  o 

■  our. 

Gertrude  McCoy  is  going  to  France  and 
Belgium  for  the  exteriors  of  “A  Royal 
Divorce  ”  for  Samuelson. 

Linda  Moore  has  gone  to  Germany  to  play 
for  Dewhurst  in  “The  Uninvited  Guest  ”  and 
“What  the  Butler  Saw.” 

A.  F.  Coleby  is  back  from  Nice,  where  he 
has  been  filming  the  exteriors  of  “The 
Prodigal  Son.” 

Cecil  Morton  York  left  for  Germany  last 
Saturday  to  play  in  “What  the  Butler  Saw  ” 
and  “The  Uninvited  Guest.” 

Annette  Benson  is  playing  in  “The  Un¬ 
invited  Guest  ”  and  “  What  the  Butler 
Saw  for  Dewhurst  Productions  in  Ger¬ 
many. 


Fred  Wright  is  walking  to  the  Kinema 
Carnival  at  Stoke-on-Trent. 

George  A.  Cooper  is  directing  “Pearl  for 
Pearl,”  a  new  one-reel  Quality  film. 

D.  P.  Cooper  has  been  in  Nice  photo¬ 
graphing  “The  Prodigal  Son  ”  for  Stoll. 

Randal  Terreaneau  is  photographing 
“  Pearl  for  Pearl  ”  for  Quality. 

Henry  Victor  is  back  from  Nice,  where  he 
has  been  playing  in  the  exteriors  of  “  The 
Prodigal  Son  ”  for  Stoll. 

Richard  Lindsay  is  in  Germany  playing 
for  Dewhurst  in  “What  the  Butler  Saw  ” 
and  “The  Uninvited  Guest.” 

Valia  left  for  Rome  last  "Wednesday  to  play 
in  the  new  George  Clark  picture,  “  The 
Starlit  Garden.” 

Bromley  Davenport  has  joined  the  George 
Clark  company  in  Italy,  where  the  exteriors 
of  “The  Starlit  Garden  ”  will  be  made. 

PHOTOGRAPHIC 

EXHIBITION 

4  GREAT  International  Exhibition  for 
Photography,  Optiks  and  Kinemato- 
graphy  will  take  place  in  Turin  next  spring, 
through  the  initiative  of  the  Board  of 
Trade  and  under  the  patronage  of  H.M.  the 
King. 

The  seat  of  the  show  will  be  the  News¬ 
paper  Palace  .situated  in  the  splendid 
Valentino  Park,  a  vast  and  elegant  building 
which  will  be  the  ideal  premises  for  the 
exhibitors. 

The  Exhibition  in  Turin  will  give  first  of 
all  an  opportunity  to  realise  the  great  pro¬ 
gress  of  photography,  that  most  important 
branch  of  modern  activity;  and,  because  oi 
the  spirit  of  competition  which  it  will  call 
forth  among  the  international  competitors, 
it  will  also  be  a  good  spur  to  new  researches 
and  greater  perfecting. 

The  photographic  group — in  which  we 
specially  take  an  interest — will  be  divided 
into  seven  classes,  namely : — 

1.  Photography  in  general. 

2.  Didactic,  journalistic,  and  commercial 
propaganda  projections. 

3.  Photography  applied  to  industry. 

4.  Photography  applied  to  science. 

5  Photographic  materials. 

6.  Retrospective  show. 

7.  Photographic  teaching,  literature,  and 
photographic  journals. 

Special  Custom  House  and  railway  advan¬ 
tages  will  be  allowed  to  exhibitors.  The 
committee,  directed  by  Sir  Giuseppe  Ratti, 
will  undertake  to  obtain  in  the  hotels  in 
Turin  the  lowest  rates  of  boarding  during 
their  stay. 

The  active  President  of  the  Exhibition  is 
His  Excellency  the  Hon.  Teofilo  Rossi, 
Minister  of  Industry  and  Commerce. 

WTe  invite  the  English  photographers  to 
begin  preparing  in  order  that  our  class  may 
show  at  its  best  advantage  at  the  Exhibi¬ 
tion.  For  explanations  apply  to  the 
General  Committee,  Turin,  Via  Oepdale, 
N.26. 


Leal  Douglas  has  gone  to  Germany  to 
play  for  Dewhurst. 

Reg.  Bach  is  appearing  in  B.  and  C.'f* 
“The  Wonder  Women  of  the  World.” 

Fred  Raynham  is  playing  Abdullah  Khan 
in  the  Stoll  film  “The  Sign  of  Four.” 

Sinclair  Hill  is  now  completing  “  Open- 
Country  ”  for  Stoll. 

Isobel  Elsom  is  appearing  in  the  principal 
female  role  for  Stoll  in  “The  Sign  of  Four.” 

Frank  Goldsmith  is  playing  in  “The  Sign 
of  Four  ”  for  Stoll. 

Arthur  Bell  will  be  seen  in  the  cast  of  the- 
new  Stoll  film  “The  Sian  of  Four.” 

George  Pearson  will  commence  produc¬ 
tion  on  a  new  Welsh-Pearson  film  next 
week. 

Maurice  Elvey  has  returned  from  Nice, 
where  he  has  been  filming  the  exteriors  of 
“The  Sign  of  Four.”  for  Stoll. 

Malvina  Longfellow  lias  been  working  for 
B.  and  C.  in  “The  Wonder  Woman  of  th« 
World.” 

Humberstone  Wright  is  back  from  Nice, 
where  he  has  been  appearing  in  the  ex¬ 
teriors  of  “The  Sign  of  Four.” 

Charles  Bennett  is  playing  in  the  new 
B.  and  C.  subject,  “The  Wonder  Women 
of  the  World.” 

Cameron  Carr  has  gone  to  Germany  with 
Dewhurst,  and  is  playing  in  “What  thtr 
Butler  Saw  ”  and  “The  Uninvited  Guest.” 

Arthur  Kingston  is  photographing  “The 
Wonder  Women  of  the  World,”  for  B. 
and  C. 

Madge  Stuart  has  gone  to  Germany  with 
Dewhurst  Productions  in  “What  the  Butler- 
Saw  ”  and  “The  Uninvited  Guest.” 

Edwin  Greenwood  is  now  directing  for 
B.  and  C.  His  latest  is  “The  Wonder 
Women  of  the  World.” 

Eille  ^Norwood  has  been  in  Nice  playing 
in  the  Sherlock  Holmes  subject,  “The  Sign 
of  Four,”  for  Stoll. 

Fred  Granville  will  commence  work  on  a 
new  film  immediately  after  his  trip  to 
America. 

Norman  Page  is  taking  the  role  of 
Jonathan  Small  in  “The  Sign  of  Four”  for 
Stoll. 

Catherine  d’Esterre  will  again  be  seen  as 
Holmes’  housekeeper  in  “The  Sign  of  Four  ” 
for  Stoll. 

Warwick  Ward,  who  has  devoted  his  time, 
solely  to  screen  work  during  the  last  two 
years,  has,  during  that  time,  featured  in 
over  eighteen  productions.  During  the  last 
ten  months  he  has’  played  leading  parts  in 
six  productions,  which  have  involved  a 
little  travelling.  Italy  (visiting  Rome, 
Naples,  Sorrento).  Egypt  (visiting  Cairo,. 
Luxor,  Alexandria,  Gibralter,  and  Mar¬ 
seilles).  Two  trips  to  Holland,  and  a  few 
weeks  in  Cornwall,  completed  a  somewhat- 
busy  year. 


Every  Film  Artiste  should  sign  and  post  the  Form  on  Page  Six. 


December  9,  1922 


THE  MOTION  PICTURE  STUDIO 


SCENARIST 


OUR 

PARLIAMENT 

Mr.  Speaker, — May  I  just  tender  my  sin¬ 
cere  thanks  for  the  new  courage  and  helpful 
advice  your  heartening  little  journal  brings 
to  all  those  engaged  in '  the  film  world?  I 
am  only  one  of  a  great  many,  but  I  do  not 
know  what  the  weeks  would  be  like  without 
The  Motion  Picture  Studio  to  advise  and 
cheer  us  on.  May  I  also  add  that  your  idea 
of  organising'  film  artistes  within  the  A.  A.  is 
the  only  sensible,  practical  move  yet  made 
in  a,  matter  that  is  so  sadly  in  need  of  a 
move  of  some  sort,  and  I  trust  that  it  will 
soon  materialise. — Dorothy  Moore. 

Mr.  Speaker. — No  wonder  that  many 
readers  of  The  Motion  Picture  Studio  may 
have  delighted  themselves  indulging  in  the 
perusal  of  such  powerfully  written  articles 
as  the  one  published  last  week  from  the  pen 
of  such  an  able  and  authoritatively 
enlightened  writer  as  Tom  Terriss. 

In  his  lines  so  well  accorded  and  thought¬ 
fully  weighted  with  common  sense  he  leads 
us  through  those  seven  years  he  has  so 
successfully  spent  in  the  studios,  and 
impartially,  intelligently,  he  complains  of 
one  of  the  drawbacks  of  the  production 
side,  too  many  formulas. 

I,  you,*  many  of  us,  know  it,  and  there¬ 
fore  must  agree  with  him.  Yes,  there  are 
too  many  formulas  in  the  studios,  and 
painful  to  realise  many  of  them  are  quite 
useless,  obstructive  I  should  say,  as  there 
are  also  other  inconvenients— on  page  ten 
another  writer  points  some  of  them  very 
ably.  Favouritism  I  refer  to.  And  that 
favouritism  does  not  only  rule  as  master  on 
the  capitalistic  side,  it  intrigues  and  winds 
its  way  into  the  studio,  in  the  agent’s 
office,  in  the  publicity  offices,  in  the  Press. 

Tom  Terriss  states  it  plainly  and  truly, 

“  There  are  not  enough  bold,  creative 
spirits  who  will  continually  smash  all  rules 
and  fbrmulasi.”  How  can  there  be?  In 
another  article  published  some  time  ago  I 
fully  explained  what  in  this  case  could  be 
taken  as  a  direct  reply,  i.e.,  until  the 
dealers  are  driven  out,  the  temple  of  art 
will  not  be  a  temple. 

How  can  there  be  enough  bold,  creative 
spirits  when,  if  you,  for  instance,  be  a 
writer,  or  an  embryo  writer,  and  present 
a  work  to  an  editor,  a  work  that  may  seem 
original,  that  may  be  topical,  instructive, 
moral,  artistic  even.  Well,  there  are 
formulas,  too,  in  the  editorial  offices;  polite 
letters,  and  your  boldness,  your  creative 
spirit  returns  to  you  by  post  accompanied 
with  a  formula  which  means  literally  “not 
wanted.”  And  the  same  applies  to 
directors  in  certain  cases  when  they  embark 
in  some  expensive  footing.  Very  much  alike 
happens  even  to  artistes  on  the  floor  if  they 
happen  to  open  their  mind  and  suggest  an 
improvement,  they  will  even  be  suspected  of 
zeal  carried  to  extremes  of  prejudice. 

So,  if  my  voice,  humble  and  unknown  as 
it  is,  can  re-echo  Mr.  Terriss’  appeal,  I 
enthusiastically  second  him  to  call  for  more 
independent  writers — not  waiters — and  epic 
directors,  who  together  could  work  un¬ 
trammelled,  and  lead  this  our  wonderful  art 
to  the  heights  of  a  modern  Parnasus,  and 
there  leave  written  in  golden  letters  the 
achievements  of  enlightened  modern  geniuses 
in  the  tablets  where  names  like  Alighieri, 
Homer,  Virgil,  Shakespeare,  Montaigne, 
Michael  Angelo,  Praxiteles,  Murillo, 
Velasquez,  Goya,  Beethoven,  Leoncavallo, 
Pficcini,  and  many  others  shine  to  posterity. 
—Laughs  and  Tears. 

Every  Film  Artiste 


Note. — The  scenarists  apologise  again  for 
the  delay  in  the  criticism  of  the  scenarios 
sent  in,  which  were  of  a  most  interesting 
nature — far  more  so  than  had  been  ex¬ 
pected.  Where  originality  of  plot  was  a 
special  feature  of  the  story,  an  effort  has 
been  made  not  to  give  the  idea  away,  anti 
this  makes  the  criticisms  read  a  little  more 
vaguely  in  some  cases  than  is  quite  desir¬ 
able,  but  it  is  essential  that  good  and 
original  ideas  should  remain  the  property 
of  their  owners.  So  many  scenarios  were 
sent  in  that  it  was  quite  impossible  to 
criticise  them  all  adequately  in  the  space 
put  at  our  disposal,  so  further  criticisms 
will  appear  next  week. 

Sammy. — The  Critic’s  approach  the  criti¬ 
cism  of  this  play  with  diffidence.  Such 
intensely  careful  work  has  been  put  into  it, 
and  there  is  such  truly  artistic  feeling  iu 
the  story,  that  we  feel  there  should  be 
nothing  but  praise.  However,  it  is  one  of 
the  essential  charms  of  Art  that  perfection 
is  unattainable,  and  there  are  a  few  iittle 
things  that  suggest  themselves  in  the  reading 
of  the  story  that  might  be  worth  the  author’s 
attention. 

In  the  first  place,  the  opening  scenes  or 
the  story  are  too  scattered  to  appeal  to  the 
average  person.  The  homes  and  the  types 
of  people  shown  are  obviously  used  in  this 
way  to  further  the  artistic  idea,  but  the  mind 
of  the  public  might  not  retain  so  many 
sudden  transitions,  and  it  is  sometimes 
necessary  to  sacrifice  something  of  the 
artistic  idea  to  fit  it  in  to  the  limits  of 
“  continuity.”  Continuity  means,  of  course, 
the  carrying  on  of  the  story.  In  your 
opening  scenes  it  is  not  so  much  the  story 
as  the  psychological  idea  that  is  carried 
on.  As  such,  it  could  not  easily  be  bettered, 
but  what  the  scenario!  editor  is  generally  on 
the  look  out  for  is  first  and  foremost  a  story 
— not  a  finely  artistic  idea,  however  beauti¬ 
ful  the  thought  and  the  feeling  with  which 
it  is  carried  out. 

It  appears  to  the  Critics  that  English  is 
not  the  mother  tongue  of  the  huthor.  From 
a  careful  study  of  the  script  they  have  come 
to  the  conclusion  that  the  writer  is  probably 
of  French  nationality,  and  they  would 
strongly  urge  him  to  submit  future  scripts 
to  French  firms  in  his  own  language. 
While  the  script  is  remarkable  as  a  piece 
of  work  written  in  a  foreign  language,  the 
English  is  not  faultless,  and  it  might  not, 
in  consequence,  stand  quite  the  same  chance 
as  it  would  if  it  was  written  in  French  and 
read  by  French  people.  This,  too,  would 
give  less  trouble  to  the  writer,  whose  work 
deserves  respect  for  the  immense  care  and 
labour  bestowed  on  it. 

In  technique  it  is  obviously  the  work  of 
an  actor  who  knows  his  business,  and  of  a 
thinker  who  has  good  and  original  ideas 
to  put  upon  the  screen.  If  this  story  has 
been  submitted  elsewhere  and  rejected,  we 
can  only  offer  it  as  our  unanimous  opinion 
that  it  is  the  language  bar  that  has  caused 
it,  and  we  can  only  offer  our  hope  that  when 
offered  in  a  different  country  it  will  meet 
with  success. 

Libra. — The  Critics  do  not  think  this 
story  would  make  a  film  as  it  stands.  The 
loveless  match  and  the  heroine  who  sells 
herself  for  a  rich  husband  is  not  a  very  new 
figure  on  tht*  screen,  and  until  the  end, 
with  the  big  punch  of  the  burglary,  there 
is  little  action  in  the  plot.  A  play  for  the 
screen  must  be  all  action — not  necessarily 
violent  action  such  as  your  burglary  scene, 
but  action  of  some  sort  or  another.  A 
woman  seated  at  a  piano  playing  a  nocturne 
dreamily  is  not  really  action  from  the  screen 
point  of  view,  though  the  Critics  would  not 

should  sign  and  post  the 


S’  BUREAU 

wish  for  one  moment  to  convey  that  they 
think  there  is  nothing  more  in  your  story 
than  that 

Your  episode  of  the  hammering  of  your 
hero  on  the  Stock  Exchange  we  do  not  think 
could  happen  in  the  way  you  suggest.  The 
Stock  Exchange  exacts  safeguards  from  its 
members  which  would  make  it  impossible. 
The  literary  quality  of  the  writing  makes 
your  story  very  pleasant  reading,  and  shourd 
the  writer  have  any  published  stories  likely 
to  be  suitable  for  the  screen,  he  might  submit 
them  to  a  good  film  agent,  such  as  the 
Society  of  Authors  or  the  Scenarists’  Bureau 
could  recommend,  and  then  he  need  not 
trouble  over  the  complications  that  have 
robbed  him  of  his  collaborator.  Film  Com¬ 
panies  frequently  buy  the  rights  of  books  or 
stories,  and  use  their  own  scenarist  to  adapt 
them  from  the  printed  volume  to  the  screen. 

L.  F.  (East  Sheen). — The  first  thing  the 
Critics  want  to  say  about  this  story  is  that 
there  are  far  too  many  interior  scenes. 
Twenty  studio  scenes  to  be  built  up  (and 
some  of  them  would  not  be  cheap)  are  far 
too  many  for  a  two-reel  subject.  The  expense 
of  this  alone  would  probably  prevent  the 
play  being  read  through  if  the  scenario 
editor  saw  the  list  of  them.  It  would  make 
the  film  too  costly  to  produce.  Most  two- 
reel  plays  are  written  with  about  four  or 
five  studio  sets,  some  with  none. 

The  sub-titles  are  very  well  written  indeed 
— far  the  most  professional  part  of  the  play, 
but  they  are  also  far  too  numerous.  Thirty- 
eight  screen  messages  in  fourteen  scenes 
is  far  too  many.  If  the  story  needs  as  much 
written  explanation  as  this  it  is  unsuitable 
to  the  screen.  If  you  can  do  without  them 
cut  them  out.  Stories  of  doubles  are  ex¬ 
tremely  difficult  to-  make  clear  on  the  screen, 
and  this  one  would  be  very  difficult. 

Your  setting  out  of  the  scenario,  though 
very  much  better  than  some  that  pass 
through  our  hands,  is  not  quite  up  to 
standard.  It  is  not  at  present,  in  the 
Scenarists’  opinion,  a  saleable  script,  but 
there  is  no  reason  why.  later  on,  other 
scripts  by  the  same  writer  should  not  be 
marketable. 

D.  M.  (Leyton).— This  story  is  quite  good 
and  suitable  for  the  ‘screen  except  in  one 
particular.  Most  people  know  now  that 
stage  managers  of  important  London 
theatres  do  not  offer  big  parts  to  pretty 
little  country  girls  with  no  .stage  experience. 
The  stage  is  a  hard  life,  and  it  would  be  a 
great  deal  easier  for  some  people  if  things 
happened  like  that.  If  this  story  were 
altered  in  this  one  particular  it  would  have 
a  much  better  chance  of  being  carefully 
read  by  a  possible  buyer.  Unless  it  is 
either  in  scenario  form  or  published,  we  do 
not  think  it  stands  a  great  chance  of  sale. 
You  have  only  sent  the  synopsis.  If  by 
chance  it  is  the  synopsis  of  a  novel,  I 
should  think  it  would  probably  film  very 
well,  but  the  unpublished  story  by  the  un¬ 
known  writer  often  does  not  get  the  attention 
it  deserves.  We  wish  we  could  give  you 
more  encouragement  as  to  markets,  because 
there  is  something  quite  charming  _  about 
your  story,  but  this  bureau  is  not  going  to 
be  the  slightest  use  to  writers  if  merely 
pleasant  things  are  said  which  are  not 
honestly  true. 

Editor’s  Note.— The  services  of  two  com¬ 
petent  and  well-established  scenarists  have 
been  secured  for  the  purpose  ot  a(>|ylsJJ1o 
readers  on  all  matters  concerned  with  the 
literary  side  of  film  production.  Readers 
are  invited  io  take  full  advantage  ot  the 
Bureau ;  for  the  services  of  which  no  charge 
whatever  is  made. 

Form  on  Page  Six. 


9 


THE  MOTION  PICTURE  STUDIO  December  9,  1922 


STAGE  AND  SCREEN  CRAFT 

Does  Stage  Training  Handicap  a  Screen  Artiste/ 


n^HERE  is  a  tendency  in  certain  quar¬ 
ters  to  urge  that  film  acting  and 
stage  acting  are  tw'o  entirely  dissimilar 
arts,  and  the  possession  of  stage-acting 
ability  handicaps  one  in  the  studio,  and 
vice  versa  This  is  a  subject  of  vast  im¬ 
portance,  and  to  afford  our  readers  oppor¬ 
tunity  of  exhaustively  discussing  the 
matter  we  have  invited  A.  Harding  Steer- 
man  (an  accomplished  artiste  on  both 
stages)  to  initiate  the  discussion.  Mr. 

Steer  man  writes  : — 

Acting  is  acting;  it  is  inborn  and  can¬ 
not  be  taught  except  so  far  as  to  tech¬ 
nique. 

Therefore  I  cannot  accept  the  view 
that  film-craft  and  stage-craft  are  so  dis¬ 
similar  that  the  expert  in  one  is  handi¬ 
capped  for  the  other;  at  any  rate,  as  re¬ 
gards  stage  experts.  There  are  many 
noteworthy  instances  to  the  contrary. 

In  the  early  days  of  British  film  acting 
the  great  majority  of  artistes  were  re¬ 
cruited  from  the  stage.  One  need  only 
recall  the  old  London  Film  Company  as 
an  instance.  Directors  and  actors  wtere  all 
recognised  stage  artistes,  many  of  whom 
have  since  made  names  for  themselves  as 
film  artistes. 

In  the  course  of  years  another  school  of 
actoi  has  evolved.  With  experience  and 
careful  training  they  have  developed  into 
successful  film  actors,  some  few  had 
appeared  behind  the  footlights  as 
amateurs,  but  the  majority  had  probably 
never  thought  of  acting — these  may  be 
assumed  to  have  acting  inborn  in  them. 

1  hey  have  been  lured  from  obscurity  by 
the  glamour  of  the  screen,  just  in  the 
same  way  as  so  many  stage  actors  have 
been  lured  bv  the  glamour  of  the  foot¬ 
lights.  But,  where  one  may  find  75  per 
tent,  of  stage  actors  who  have  proved 
themselves  invaluable  as  film  actors,  is  it 
possible  to  find  5  per  cent,  film  actors  of 
the  new  1\ -evolved  school  vVho  could  prove 
themselves  invaluable  in  any  kind  of  play 
upon  the  stage? 

Beyond  this,  where  is  the  dissimilarity 
when  both  appear  on  the  screen?  Each 
is  as  fine  as  the  other;  but  I  venture  to 
say  that,  speaking  generally,  a  director 
would  prefer  to  have  his  cast  entirely  of 
stage  artistes,  because  acting  is  acting.  I 
go  further,  and  say,  entirely  without  pre¬ 
judice,  that  the  kinema  industry  would 
not  have  suffered  in  the  smallest  degree 
if  the  new  school  had  never  come  into 
eixstence.  But  there  they  are,  and  in 
their  line  they  are  just  as  great  as  others, 
and,  personally,  I  shall  always  hold  out 
the  hand  of  friendship  to  them. 

The  real  fact  is  that  acting — in  the 
sense  that  it  was  known  before  film  days 
-  is  a  tradition,  and  probably  per  cent, 
of  the  profession  have  associations  with 
the  stage  from  childhood.  An  Ellen  Terry 
of  the  film  world  is  as  vet  impossible;  the 
nearest  approach — allowing  for  difference 

Every  Film  Artiste 


of  age — is  Fay  Compton,  equally  great 
before  the  camera  or  behind  the  foot¬ 
lights.  Both  these  incomparable  artistes 
are  steeped  in  the  tradition  of  the  stage, 
and  both  were  practically  born  on  it. 
T  here  will  be  a  tradition  of  the  films  some 
day,  in  the  meantime  let  film-craft  and 
stage-craft  go  hand  in  hand.  Live  and 
let  live. 

Other  views  on  this  matter  have  been 
secured  from  several  other  well-known 
stage-and-screen  players. 

EVA  MOORE 

“Both  arts”  (screen  art  and  stage  art) 
“demand  the  very  best  each  artiste  can 
give,  both  are  pictures  of  life,  and,  to  be 
true,  pictures  must  be  the  natural  por¬ 
trayal  of  all  emotions.  Although  the  film 
does  not  make  any  call  on  the  voice  of 
the  artiste,  it  makes  a  very  definite  call  on 
the  powers  of  concentration  ;  greater,  I 
think,  than  the  stage,  since  the  surround¬ 
ing's  are  less  helpful  to  the  artiste.  1 
believe  that  the  artiste  who1  has  learned 
his  or  her  business  by  constantly  playing 
on  the  stage  must,  of  necessity,  find  the 
knowledge  helpful  in  film  work.  The 
art  of  walking,  moving,  expression  of 
features  are  part  of  cur  stage  training, 
and  all  these  require  additional  care  in 


A  LLAN  ATWOOD  has  been  engaged  by 
Stoll’s  for  an  important  part  in  one  of 
the  new  Sherlock  Holmes  stories,  “The  Sign 
of  Four.”  Mr.  Atwood  is  an  actor  of  wide 
experiences,  and  has  played  in  every 
theatre  of  importance  in  England  and 
America.  He  devotes  his  entire  time  to 
the  films  and  specialises  in  pompous  parts. 
He  is  a  son  of  the  late  W.  Allan  Atwood, 
M.D.,  who  was  made  famous  by  the  great 
Tichborne  case. 

should  sign  and  post  the 


film  work.  My  personal  experience  01 
film  work  has  been  limited,  but  I  have 
found  the  knowledge  I  have  acquired  in 
my  stage  work  of  many  years  a  most 
valuable  asset  to>  me. — Eva  Moore.” 

GLADYS  COOPER 

“I  have  had  so  very  little  film  work, 
that  it  is  rather  difficult  for  me  to  give 
my  views ;  but  the  greatest  difficulty  I 
find,  is  the  way  in  which  a  film  is  pro¬ 
duced.  It  differs  so  entirely  from,  the 
production  of  a  play.  But,  as  I  say,  I 
have  done  very  little  film  work  and  have 
only  had  the  experience  of  English  pro¬ 
ducers. — Gladys  Cooper.” 

JULIAN  ROYCE 

“It  is  my  opinion  that  stage  experience 
is  of  material  assistance  to  the  film  craft- 
I  have  most  certainly  found  it  so  in  my 
own  case.  Also'  the  technique  of  the  two 
are  quite  distinct. — Julian  Royce.” 

MABEL  EVELYN 

“  I  have  had  a  fairly  varied  experience 
in  both  branches  and  I  think  that  an 
artiste  who  has  received  a  proper  stage 
training  and  who  films  well  has  a  fair 
chance  of  success  on  the  screen  ;  but  one 
whose  only  experience  has  been  on  the 
screen  must,  of  necessity,  be  at  a  dis¬ 
advantage  on  the  legitimate  stage.  Decent 
elocution  is,  I  think,  still  necessary  in 
the  theatre — an  actor  has  to  hold  his  audi¬ 
ence  whether  the  story  of  the  play  is 
good  or  bad.  This  cannot  be  taught,  it 
can  only  be  acquired  by  actual  experience. 
Many  other  attributes  must  be  possessed 
for  success  in  fhe  theatre  which  are  not 
so  necessary  in  the  studio.  In  my 
opinion  the  theatre  acu,r  may  be  suitable 
for  screen  work,  but  the  film  actor  is  not 
always  suitable  for  the  stage. — Mabel 
Evelyn.” 

DOUGLAS  MUNRO 

“After  over  20  years’  experience  on  the 
legitimate  stage  in  parts  ranging  from 
clown  in  pantomime  to'  Shakespeare,  in 
my  humble  opinion  such  an  experience  is 
bound  to  be  of  immense  help  to  one’s 
screen  work.  This  opinion  was  shared  by 
by  the  late  Geo.  Loane  Tucker,  who,  for 
his  screen  productions,  always  preferred 
artistes  of  known  experience  on  the  stage. 
Norman  McKinnel,  Henry  Ainley,  Albert 
Chevalier,  Laurie  Cowie  and  many  others 
equally  famous  all  starred  in  Tucker’s 
films.  On  the  contrary,  I  do  not  think  a 
screen  training  would  be  of  any  assistance 
to  work  on  the  stage  proper. — Douglas 
Munro.” 

[Editor’s  Note — We  shall  be  glad  to 
give  publicity  to  the  views  of  other 
readers  on  this  subject.] 

Form  on  Page  Six. 


10 


December  9,  1922 


THE  MOTION  PICTURE  STUDIO 


CLUB  CLATTER 

by  CLATTERBOX 


Will  members  please  make  a  note  that 
the  first  Kinema  Club  Hockey  Match  is 
arranged  for  Sunday  afternoon,  December 
17,  versus  Marble  Hill  Hockey  Club,  and 
will  be  played  in  Marble  Hill,  Twicken¬ 
ham.  The  present  members  of  the  team 
are 

Rex  Davis. 

Major  Foyle. 

L.  B-  Lestocq. 

H.  Lisle  Lucoque. 

Frank  Dane. 

Eric  Stacey. 

Ian  Beverley. 

Gordon  Hopkirk. 

R.  Beard. 

R.  Unwins. 

Mr.  Lestocq  is  still  wanting  further 
names  in  case  any  of  the  above  should  be 
away  on  location  on  December  17,  and  is 
still  without  a  goalkeeper. 

If  there  are  any  more  playing  members) 
in  the  Club  he  will  be  glad  to  have  their 
names  as  soon  as  possible,  and  also'  hopes 
that  as  many  members  as  possible  will 
turn  up  to  give  their  support. 

The  ground  is  easily  reached  by  District 
Railway  to  Richmond  and  ’bus  27  to  the 
gates,  or  London  and  South  Western 
from  Waterloo  to  St.  Margaret’s. 

The  following  report  of  the  billiards  and 
snooker  finals  has  been  sent  in  by  G.  A. 
Mooser,  the  marker  at  the  Club.  Evidently 
Mooser  has  a  gift  for  concise  and  expressive 
reporting  that  is  co-equal  with  his  skill  as 
a  player  and  his  highly  appreciated  capa¬ 
cities  as  marker.  We  hereby  appoint  him 
“Our  Special  Billiard  Room  Correspon¬ 
dent.”  He  writes 

The  finals  in  the  Club  Snooker  and 
Billiard  Handicaps  were  played  off  on  Fri¬ 
day,  December  i.  In  the  afternoon  Richard 
Lindsay  (scratch)  opposed  Somers  Bellamy 
(received  17)  for  the  best  two  out  of  three 
games ;  the  scratch  player  having  won  the 
first  two  games  outright.  The  first  game 
went  to  Mr.  Lindsay,  the  scores  being 
68 — 51,  also  the  second,  69 — 67.  This  was 
a  most  exciting  contest,  both  playing  very 
good  snooker.  .Somers  Bellamy  started  the 
second  game  in  excellent  style  and  scored 
freely,  but  Mr.  Lindsay  hung  on,  and  the 
score  was  called  67 — 47,  in  Mr.  Bellamy’s 
favour.  It  looked  a  good  thing  for  the 
leader,  but  -Mr.  Lindsay,  making  some  ex¬ 
cellent  strokes,  promptly  took  the  last  five 
coloured  balls  in  succession,  winning  a  fine 
game  by  two  points. 

Final  Score. 

Mr.  Lindsay  (scratch)  ...  ...  69 

Mr.  Bellamy  (received  17)  ...  67 

At  night,  before  a  very  good  attendance 
of  members,  Geoffrey  Benstead  (owes  250) 
crossed  cues  with  George  Ridgwell  (received 
130)  In  the  final  game  of  400  up.  Mr.  Ben¬ 
stead  was  in  brilliant  form,  and,  dashing 
away  at  a  great  pace,  gave  Mr.  Ridgwell 
no  chance  whatever  in  the  first  half  of  the 
game.  He  made  successive  breaks  of  34,  22, 
39,  37,  21,  19,  18,  12  (twice),  10  (twice), 
Mr.  Benstead  having  worked  off  his  “owe 
250  ”  in  the  short  time  of  forty  minutes,  Mr. 
Ridgwell  now  got  going  and  put  on  13,  15 
and  11.  Mr.  Benstead,  however,  was  at  it 
again,  and  put  on  33,  25,  31  and  46.  In 
the  last  effort  Mr.  Benstead  made  some 

Every  Film  Artiste 


wonderful  slow  screw  strokes.  At  this  point 
the  game  was  called  233  all. 

Mr.  Ridgwell  now  got  a  turn,  and  made 
breaks  of  15,  14,  12,  10  and  several  smaller 
efforts,  but  he  was  very  unlucky,  just  miss¬ 
ing  strokes  by  the  merest  shade,  leaving 
the  balls  well  placed  each  time  for  Mr 
Benstead,  who  took  full  advantage,  again 
making  breaks  of  21,  23,  24,  28,  31  and  33, 
two  hands  later  running  out  with  25  un¬ 
finished,  wanning  a  grand  game  by  52 
points. 

Final  Score. 

Mr.  Benstead  (owe  256)  ...  400 

Mr.  Ridgwell  (received  130)  ...  348 

Time :  1  hour  50  minutes. 

N  spite  of  opposition  in  the  form  of  the 
Ypres  Ball,  the  St.  Andrew’s  Night 
dance  at  the  Club  was  very  successful.  It 
could  hardly  be  called  a  Scotch  night, 
although  every  now  and  then  a  little  Scotch 
was  introduced.  We  had,  for  instance,  a 
gentleman  in  kilts,  who  played  the  bagpipes 
exceedingly  well.  Highland  Flings  by 
various  members — their  attempts  in  this 
direction  were  not  necessarily  always  suc¬ 
cessful.  Donald  Searle  did  his  best  to  enter 
into  tke  spirit  of  the  evening.  On  his  drum 
he  had  penned  the  word  “Hoots  !  ”  and  even 
tried  to  write  “Hooch  aye!”  but  this  he 
was  unable  to  spell.  His  make-up  was  some¬ 
what  out  of  place,  consisting  as  it  did  of 
a  turban  and  very  dense  set  of  whiskers. 
During  the  evening  the  band  occasionally 
broke  into  Scotch  music. 

Last  Saturday  night’a  dance  was  well 
attended,  and  members  were  not  at  all 
anxious  to  leave  the  premises  when  dancing 
finished  at  midnight. 

I  hear  that  the  Club  is.  likely  to  open  on 
Christmas  Day,  as  many  members  would 
like  to  spend  the  evening  there.  Un¬ 
doubtedly  there  would  be  quite  a  good 
attendance  if  this  were  done,  but  it  seems 
rather  hard  on  the  staff,  that  on  Christmas 
— of  all  days  of  the  year — they  should  have 
to  be  working.  Perhaps  someone  would 
arrange  for  members  to  take  charge  of  the 
Club  on  that  day  and  for  the  staff  to  be 
given  a  holiday.  It  would  not  be  a.  difficult 
matter  to  fix  up,  and  it  would  be  quite  a 
novelty  for  the  members. 

I  have  been  wondering  what  has  happened 
to  the  monthly  house  dinner.  The  first  one 
was  an  enormous  success.  The  place  was 
packed  out,  and  quite  a  good  dinner  was 
served  at  3s.  6d.  Let  us  hope  that  the 
dinners  are  not  going  to  be  dropped. 
Although  it  is  too  late  to  hold  one  this 
month,  perhaps  one  can  be  arranged  in 
January. 

There  will  be  no  more  special  nights  at 
the  Club  until  Christmas.  The  Saturday 
dances  will  still  continue,  but  it  is  felt  that 
members  cannot  afford  to  spend  money  on 
special  dinners  and  such  like  at  this  time 
of  the  year,  when  money  has  to  be  paid  out 
all  over  the  place. 

It  is  hoped  that  members  will  do  every¬ 
thing  in  their  power  to  make  the  next 
Kinema  Carnival  a  big  success.  Tickets 
will  be  on  sale  shortly,  and  it  is  expected 
that  practically  every  member  of  the  Club 
and  their  friends  will  have  a  ticket  for  the 

should  sign  and  post  the 


IN 

TWO 

WEEKS 

TIME 

the  Second  Xmas  No.  of  the 

MOTION 

PICTURE 

STUDIO 

will  be  published  and  will  be 
full  of  good  articles,  interviews,  etc. 

MANY  WERE 
TOO  LATE 

last  year  and  regretted  that  they  did 
not  have  a  Greeting  Card  printed. 

If  you  desire  to  take  advantage  of 
this  unique  advertising  medium 
you  must  get  in  touch  with  this 
office  at  once. 

'PHONE  OR  WRITE 

93,  Long  Acre.  Gerrard  9870 


evening.  The  Hotel  Cecil  is  once  again  to 
be  the  rendezvous ,  and  the  big  garage  is  to 
be  decorated  and  suitably  arranged  for  those 
who  wish  to  sit  a  dance  out.  Everyone  who 
was  present  at  the  previous  Carnival  will 
have  already  decided  to  be  there  on 
February  5,  and  to  those  who  did  not  attend 
I  can  only  warn  them  that  the  Carnival 
only  happens  once  a  year  and  is  too  good  to 
be  missed. 

Sunday  evening  was  a  special  “Poll}' 
Night,”  organised  by  the  catering  depart¬ 
ment.  Everything  went  off  exceedingly  well, 
and  quite  an  enjoyable  evening  was  spent. 
After  dinner  there  was  dancing  until  a  very 
late  hour.  The  music  was  advertised  as  a 
special  feature,  but  most  members  seem  con¬ 
tent  with  the  club’s  own  band,  and  it  is 
hardly  necessary  to  engage  an  outside  one. 

A  second  telephone  line  has  now  been 
installed  in  the  club,  which  has  necessitated 
the  discontinuance  of  the  number  Regent 
2131.  Members  should  note  that  the  new 
numbers  are  Regent  630  and  631. 

The  new  billiard  table  has  now  been  fitted 
up  in  the  billiard-room,  and  is  ready  for 
use. 


COME  RIGHT  IN  ! 

If  vou  are  passing,  or  if  you  want  to  ask 
a  question,  or  if  you  have  some  news,  or 
if  you  want  to  have  a  chat  over  the  busi¬ 
ness-  come  right  in !  We  are  anxious  to 
maintain  close  personal  touch  with  all  our 
readers.  We  are  putting  you  first  all  the 
time — you  and  your  interests  are  our  chief 
concern,  and  we  want  to  emphasise  that 
you  have  a  perfect  right  to  come  in  and 
regard  our  time  as  being  at  your  disposal. 
Come  right  in ! 

Form  on  Page  Six. 


THE  MOTION  PICTURE  STUDIO 


December  9,  1922 


CAMERAMEN’S  SECTION 


News  and  Views 
and 

Record  of  Activities  of  K  i  n  e  -  C  a  m  e  r  a  m  e  n 


WHAT’S  IN  A  NAME 


CTRANGE  how  much  there  really  is  in,  a  name  and  the  attraction  a  foreign 
^  name  has  for  some  people.  A  great  violinist  or  singer  cannot  exist  unless 
he  has  some  Russian,  Italian  or  Polish  name,  which  the  average  Englishman 
cannot  pronounce.  Why  is  it  that  we  never  find  people  with  names  like  John 
Smith  among  these  people  ?  In  the  musical  world,  for  instance,  we  find  men  or 
women  altering  their  names  to  something  that  sounds  foreign  in  order  to  get 
work.  Why  should  it  be  ? 

You  have  your  cameramen  earning  £10  or  £15  a  week,  or  less,  because  their 
names  are  the  well-known  English  ones,  but  the  man  with  the  Italian  name  and 
foreign  accent  can  demand  £30  every  week  and  turn  out  the  worst  pictures. 

Strange  as  it  seems,  many  directors  choose  a  cameraman  because  he  has  a  name 
that  promises  much,  and  because  he  is  a  foreigner.  They  do  not  seem  to  think 
that  English  cameramen  can  possibly  be  of  any  use.  They  have  no  reason  to 
suppose  that  these  foreign  gentlemen  are  better  photographers  than  the  English ; 
in  fact,  some  of  the  work  turned  out  by  foreigners  in  England  has  been  really 
terrible.  Still,  the  name  seems  to  do  it — it  covers  a  multitude  of  sins- — no  man 
with  a  Polish,  Russian  or  Italian  name  is  out  of  work  long,  he  can  always  find 
a  director  who  will  have  him  as  a  cameraman. 

In  ordinary  times,  when  things  are  brisk,  no  one  would  object  to  this  amazing 
fad  of  film  directors  ;  but  at  the  present  slack  period  it  seems  very  unfair  that 
many  really  fine  photographers  should  be  allowed  to  starve  simply  because  they 
cannot  look  foreign  or  have  not  a  foreign  name. 

Some  people  may  say  that  it  is  all  rubbish  :  that  directors  do  not  care  whether 
a  man  is  a  foreigner  or  otherwise.  Then  why  is  it  that  we  find  so  many  foreign 
cameramen  working  in  the  English  studios,  who  are  absolute  novices  in  camera 
work,  while  really  experienced  British  photographers  are  without  a  job  ?  No 
one  objects  to  a  man  who  can  make  good  films  working  in  an  English  studio,  no 
matter  what  his  name  or  nationality.  It  is  the  men  who  have  never  yet  made  a 
picture  worth  while  that  we  complain  of.  Surely  good  English  cameramen 
should  be  given  work  before  a  foreigner  is  taken  on. 


K.C.S.  OFFICIAL  NEWS 


TT  seems  strange  that  one  week  the  meet- 
ing  should  be  well'  attended  and  the 
next  week  it  should  be  practically  empty,  yet 
this  is  the  sort  of  thing  that  is  always 
happening  at  K.C.S.  This  is  due  to  the  fact 
that  on  certain  weeks  cameramen  are  very 
busy.  Last  week  was  a  case  in  point. 

There  were  quite  a  number  of  things 
happening,  and  consequently  the  meeting 
was  very  poorly  attended. 


At  last  Friday’s  meeting  Tracy  Mathew- 
son,  chief  cameraman  of  Kinograms,  New 
York,  was  elected  a  member  of  the  Society. 


The  forthcoming  annual  dinner  was  also  dis¬ 
cussed,  and  it  was  decided  that  a  committee 
should  get  to  work  immediately  on  the 
preliminary  arrangements.  No  trouble  is  to 
be  spared  this  year  in  making  this  dinner 
the  biggest  success  of  them  all.  The  dinner 
takes  place  on  the  first  Friday  evening  in 
January  next,  and  tickets  wifi  shortly  be 
on  sale.  All  those  requiring  tickets — and  it 
is  the  duty  of  every  cameraman  to  purchase 
one  or  two— should  get  in  touch  with  the 
secretary  and  have  tickets  reserved  for  them. 

Names  were  given  to  the  secretary  last 
week,  and  he  was  asked  to  communicate 
with  certain  members  to  ascertain  whether 
they  would  be  willing  to  join  a  committee 
which  will  make  the  arrangements  for  the 
dinner. 


In  the  past  the  dinners  have  always  been 
very  successful,  but  someone  always  seemed 
to  find  something  or  other,  no  matter  how¬ 
ever  small,  to  grumble  about.  Profiting  by 
past  experience,  it  is  the  Society’s  intention 
to  see  that  this  time  there  will  be  no  op¬ 
portunity  to  grumble. 


The  cameramen  and  the  Kinema  Club 
also  came  up  for  discussion.  It  was  sug¬ 
gested  that  another  attempt  should  be  made 
to  secure  a  room  for  weekly  meetings.  One 
member  voiced  the  opinion  that  the  Club 
was  dead  against  cameramen,  but  it  was 
pointed  out  by  other  members  that  this  was 
not  so.  A  great  deal  of  discussion  then 
took  place  on  the  subject,  and  it  was  event¬ 
ually  decided  that  the  secretary  of  the 
K.C.S.  should  communicate  with  the  Kinema 
Club  to  find  out  whether  thfi  Society  could 
hold  a  general  meeting  at  the  Club,  where 
a  committee  of  Kinema  Club  members 
could  discuss  the  whole  matter  with  the 
cameramen. 


So  far  we  have  not  yet  heard  whether 
the  K.C.S.  secretary  has  applied  to  the  club 
or  if  he  has  done  so  what  steps  the  Kinema 
Club  intends  to  take  in  the  matter.  The 
idea  that  the  club  is  against  cameramen, 
is  quite  wrong,  and  it  is  more  than  pro 
bable  that  it  will  agree  to  the  proposal  of 
the  Society  and  that  the  meeting  will  be 
held  there  very  shortly. 


CAMERAMEN 
AT  WORK 

rjWY  O  Stoll  cameramen  have  been  filming 
in  Nice  during  the  past  fortnight. 

D.  P.  Cooper  went  over  first  to  photo¬ 
graph  the  exteriors  of  “The  Prodigal  Son,”' 
and  as  he  was  getting  his  train  home  he 
met  Jack  Cox  coining  into  the  town  with 
the  Maurice  Elvey  company.  Cox  has  been 
filming  ‘‘The  S;gn  of  Four  ”  over  there,  and 
is  now  back  in  England. 

Arthur  Kingston  is  back  at  the  B.  and  C. 
studios  filming  a  new  series  of  pictures  for 
that  company  under  Edwin  Greenwood’s 
direction. 

Tommy  Scales,  of  the  Pathe  Gazette,  has 
arrived  home  safely  after  his  voyage  on 
II.M.S.  Hood. 

In  a  recent  issue  of  the  Stoll  Editorial 
News,  Pearkes  Withers  says  :  “  It  is  a  curi¬ 
ous  thing,  when  you  come  to  think  of  it, 
that  the  cameraman’s  opinion  of  a  film  pro¬ 
duction  is  practically  never  recorded.  He 
plays  a  very  important  part  indeed  in  the 
making  or  marring  of  a  picture,  and  the 
producer  renes  upon  him  to  a  very  great 
extent,  but  what  he  thinks  of  a  story  upon 
which  he  is  actively  engaged  hardly  ever 
finds  its  way  into  print.  In  these  circum¬ 
stances,  I  was  very  interested,  the  other 
day,  to  hear  what  Alfred  Moise  thinks  of  the 
Stoll  screen  version  of  Maurice  Hewlett’s 
novel,  “Open  Country.”  Sinclair  Hill  is 
producing  the  film,  Mr.  Moise  is  responsible 
for  its  photography.  ‘  This  picture,’  he 
said,  ‘  gives  me  more  inspiration  than  any 
picture  I  have  previously  worked  on  in  this 
country.  It  is  full  of  beauty  and  heart 
appeal,  and  there  is  in  it  just  that  mysteri¬ 
ous  something  that  brings  out  the  best  work 
:n  producer,  artistes,  and  cameramen.  The 
artistes — and  in  particular  Dorinea  Shirley 
and  Bertram  Burleigh — are  absolutely  stimu¬ 
lating,  and  I  believe  that  I  am  doing  better 
and  more  artistic  work  than  I  have  ever 
done  since  I  came  to  England.’  ” 

Hal  Young  is  supervising  the  fitting  and 
completion  of  the  laboratory  side  of  the  new 
George  Clark  studio  at  Beaconsfield.  He  is 
therefore  not  going  to  Italy  with  the  com¬ 
pany.  H.  A.  Rendall  has  been  engaged  to 
go  to  Italy  to  film  “The  Starlit  Garden” 
for  the  company. 

Edward  L.  Groc  has  returned  to  film  work, 
and  is  now  with  “The  Gems  of  Art  ”  Film 
Company  as  cameraman.  The  company  is  to 
use  the  old  George  Clark  studios  at  Ebury 
Street. 


12 


December  9,  1922 


THE  MOTION  PICTURE  STUDIO 


AGENCY  REFORM 

by  CHRISTABEL  LOWNDES- YATES 


SCREEN  VALUES. 

“  Quality  Finis  ” 

Quality — Dir3Cted  by  George  H.  Cooper- 
Starring  Sydney  N.  Folker,  Joan 
MacLean,  Madge  Stuart,  Donald  Searle, 
and  Hugh  Miller — Photography  by  R. 
Terreaneau — Art  Director,  Sydney  N. 
Folker. 

npHESE  productions  prove  beyond  all 
doubt  that  George  A.  Cooper  is  one  of 
the  best  directors  we  have  in  England  at  the 
present  time.  They  show  what  can  be  done  in 
the  way  of  production  if  only  time  and  care 
are  taken  in  the  making.  This  series  is  the 
best  English  short  series  yet  made,  and  there 
should  be  little  difficulty  in  selling  them  to 
America. 

Special  mention  must  be  given  to  the  excel¬ 
lent  settings,  which,  we  believe,  are  the  work 
of  Sydney  N.  Folker. 

The  artistes  have  all  been  well  cast  and 
appear  thoroughly  at  home  in  their  various 
roles. 

Joan  MacLean  has  an  attractive  screen 
personality.  She  makes  an  excellent  leading 
lady  and  portrays  her  role  in  a  very  con¬ 
vincing  manner. 

Sydney  Folker  gives  a  notable  perform¬ 
ance  as  the  husband.  He  is  an  ideal  lead¬ 
ing  man  for  this  type  of  film. 

Donald  Searle  gives  a  clever  performance 
as  Ferdinand.  It  is  a  pity  that  he  has  not  yet 
been  given  a  better  opportunity  to  display 
his  undoubted  ability  for  comedy  work. 

Madge  Stuart  gives  'one  of  her  best  screen 
performances  in  “The  Letters.”  There  is 
even  an  improvement  on  her  usual  good 
work. 

Hugh  Miller  is  well  suited  for  the  charac¬ 
ter  he  interprets— namely,  that  of  the  author. 
It  gives  him  some  fine  opportunities,  of 
which  he  makes  full  use. 

The  scenarios  have  been  well  written  and 
are  responsible  for  much  of  the  success  of 
these  films.  The  continuity  has  been  care¬ 
fully  preserved  in  each  case. 

In  keeping  with  the  high  standard  of  every¬ 
thing  else  in  these  films  Randal  Terreaneau 
has  turned  out  some  excellent  camera  work. 
Some  unusual  trick  photography  has  been 
introduced. 

SUMMARY. 

Direction  :  Superb. 

Leads  :  Very  fine. 

Supports  :  Exceedingly  good. 

Literary  :  No  faults  to  be  found. 

Lighting  :  Cleverly  arranged. 

Interiors  :  Exceptional. 

Exteriors  :  Suitable. 

Photography  :  Admirable. 

“ Shifting  Sands'7 

Granville  Productions — Directed  by  Fred  Le 
Roy  Granville — Starring  Peggy  Hyland, 
supported  by  Valia,  Lewis  Willoughby, 
Richard  Attwood,  Gibson  Gowland, 
Douglas  Webster  and  Tony  Melford — - 
Story  by  R.  C.  Wells— Scenario  by  Fred 
Le  Rov  Granville — Photography  by 
Walter  Blakeley  and  S.  Balboni. 

"  SHIFTING  SANDS  ”  as  an  instance  of 
the  class  of  film  which  really  has  a 
somewhat  thin  story,  but  which  fact  is  skil¬ 
fully  hidden  by  well-arranged  action,  clever 
direction  and  artistic  acting.  It  is  very  finely 
directed,  and  Fred  Granville  has  done  every¬ 
thing  in  his  power  tp  overcome  whaf  might 
have  been  a  handicap  in  the  way  of  .an 
unoriginal  plot.  And  in  this  he  has  suc¬ 
ceeded.  We  cannot  help  thinking  what  a 
terrible  mess  some  directors  would  have 
made  of  this  film. 

The  scenes  in  the  desert  are  particularly 
noteworthy,  and  the  shots  of  the  crowds  of 
horsemen  are  very  well  done. 

This  is  a  great  improvement  on  the  stan¬ 
dard  of  films  being  turned  out  here. 

( Confirmed  at  foot  of  next  Column.) 


TVffliCH  has  been  written  recently  in  the 
Motion  Picture  Studio  and  else¬ 
where  on  the  sins  of  agents  to  those 
artistes  who  are  obliged  to  seek  their  ser¬ 
vices,  but  there  is  one  point  of  view  that 
I  have  never  yet  seen  raised  in  an)'  paper, 
and  that  is  one  of  the  first  things  that 
strikes  the  outside  observer. 

Though  not  a  film  artiste  myself.  1  have 
on  occasion  to  visit  film  agents’  offices 
on  business,  and  1  have  been  struck  by 
the  callous  treatment  meted  out  to  tlie 
men  and  women  who  are  seeking  work. 

I  do  not  know  how  far  other  agents’ 
offices  conform  to  those  1  have  visited,  but 
in  some  of  them  the  conditions  seemed  to 
me  barbarous  in  the  extreme. 

In  one  room  I  remember  vividly — a 
foggy  day  that  was  bitterly  cold — win¬ 
dows  were  open,  the  fog  entered,  and 
there  was  no  pretence  at  a  fire  or  any 
other  form  of  heat.  In  that  room,  colder 
probably  and  more  uncomfortable  than  a 
prison,  men  and  women  who  wanted 
work  were  told  to  wait  till  someone  in 
authority  could  see  them.  I  went  to  an¬ 
other  room  for  my  business  interview, 
which  was  extremely  comfortable  and 
almost  luxurious,  and  I  shall  never  forget 
my  feeling  of  shame,  when  I  came  out  of 
it,  at  seeing  those  men  and  women  still 
waiting  for  the  chance  of  work,  in  a  tire¬ 
less,  carpetless,  chill,  barnlike  room,  with 
insufficient  chairs  even  for  the  number  of 
people  who  were  waiting.  In  one  such 
room  I  entered  about  forty  people  were 
waiting,  and  there  were  three  chairs 
provided. 

On  another  occasion  in  which  it  was 
my  fate  to  have  to  visit  an  agency,  there 
was,  so  far  as  1  can  remember,  only-  one 
small  form  to  accommodate  any  artistes 
who  might  turn  up.  One  lady  there  had 
an  appointment  with  a  director  about 
some  work,  which  she  had  come  some 
distance  to  keep.  Owing  to  an  ill- 
tempered  typist’s  refusal,  she  was  denied 
admittance  to  the  man  she  had  come  to 
see,  and  who  was  present  in  the  office  at 
the  time.  Presumably  some  friend  of  the 
typist’s  got  the  interview  (and  the  work), 
and  the  director  was  told  that  the  lady- 
had  not  kept  her  appointment. 

On  another  occasion  I  had  to  make  mv 
way  through  a  mass  of  artistes  who'  were 
waiting  on  the  stairs.  The  street  door 
was  open  below,  and  windows  above,  and 
a  bitter  draught  blew  up  and  down.  Any¬ 
thing  more  calculated  to  produce  illness  or 


At  times  the  picture  drags,  and  it  might 
be  improved  by  a  litile  judicious  cutting. 

I’eggy  Hyland  acts  yvell  and  is  convincing 
as  Barbara.  Despite  her  long  absence  from 
the  British  screen,  her  acting  has  in  no  way 
deteriorated. 

A  good  performance  also  comes  from  Lewis 
Willoughby,  who  is  seen  as  the  husband. 
Willoughby  is  an  actor  of  merit. 

Valia  has  a  role  for  which  she  is  well 
suited — that  of  Lindsay’s  French  wife.  She 
gives  one  of  the  finest  performances  in  the 
film. 

Gibson  Goyvland  gives  a  very  fine  display. 
He  is  remarkably  natural,  and  acts  in  a 
faultless  manner. 

Richard  Attwood  is  a  great  success  in  the 
role  of  Pierre  Moreau.  He  makes  a  fine, 
attractive  villain,  and  his  polished  per¬ 
formance  is  stamped  with  individuality. 


depression  could  hardly  be  imagined,  and 
some  of  the  artistes,  judging  by  their  con¬ 
versation,  had  been  there  a  long  time. 
What  purpose  can  possibly  be  served  by 
such  methods?  To  one  who  was  yvell-fed 
and  yvarmly  clothed,  it  yvas  a  trying  ex¬ 
perience  to  force  one’s  yvay  through  that 
croyvd,  but  to  submit  artistes,  who  yvere 
“resting”  betyveen  engagements,  to  such 
treatment,  seemed  appalling.  Surely  there 
must  be  some  public  body,  if  not  the 
Ministry  of  Health,  yvho  is  responsible  for 
the  inspection  of  agents’  waiting-rooms. 

Some  years  ago,  during  the  war,  it  yvas 
my  lot  to  enter  a  yvaiting-room  where  ex¬ 
soldiers  yvere  seeking  work.  The  room  yvas 
warm,  there  were  chairs  and  tables  and 
neyvspapers  about,  and  the  men  yvere 
sitting  comfortably  and  chatting  to  their 
neighbours.  Nothing  was  luxurious 
(except  the  warmth)  .and,  of  course,  one 
must  not  expect  luxury,  but  it  is  a  far  cry 
from  even  comfort  to  the  bare,  miserable, 
empty  boxes,  which  some  agents  dignify 
by  the  name  of  waiting-ro-oms. 

In  the  fight  for  better  conditions  for  the 
artiste,  one  of  the  strongest  planks  in  the 
platform  should  be  this  question  of  the 
treatment  of  the  artiste  in  the  offices. 
Agents  shoyv  the  yvorld  their  contempt  for 
the  artistes  yvhen  they  treat  them  like 
this.  \\  aiting  for  long  periods  in  these 
miserable  conditions  is  apt  to  unduly 
raise  the  importance  of  the  agent’s  position 
and  depreciate  the  artistes.  When  the 
interview  yvith  the  agent  does  materialise, 
a  chilled  and  depressed  actor  is  not  at  his 
best  to  give  a  satisfactory  impression  of 
either  his  appearance  or  his  art. 

In  any  radical  changes  that  take  place 
in  the  relation  of  artiste  and  agent,  for 
goodness’  sake  let  them  begin  at  the 
beginning— that  is  from  the  moment  the 
artiste  sets  foot  in  the  agent’s  office.  If 
the  agent  is  taught  to  respect  the  artiste’s 
position  from  the  beginning  in  outside 
things  he  is  not  likely  to  take  advan¬ 
tage  of  him  in  business  matters.  Big 
things  take  big  handling,  but  the  winter 
is  coming  on,  and  this  "is  a  little  matter 
yvhich  cannot  afford  to  yvait.  For  the 
health  of  our  artistes  is,  after  all,  their 
greatest  asset.  Let,  therefore,  the  agents 
make  their  waiting-rooms  places  fit  for 
human  beings  to  yvait  in,  and  not  wind- 
swept,  arctic  deserts  yvhere  the  only  thing 
one  can  admire  is  the  patience  and  the 
pluck  of  the  artistes  called  upon  to  face 
such  conditions. 


Tony  Melford  is  a  clever  child  actor  who, 
despite  his  youth,  seems  to  be  able  to  act. 

Douglas  Webster  gives  quite  a  good  por¬ 
trayal  of  Leroy  Lindsay. 

The  story  has  been  adapted  to  the  screen 
anil  scenarised  quite  well.  The  continuity  is 
fairly  smooth. 

Walter  Blakeley  and  S.  Balboni  have 
secured  some  fine  photographic  effects.  The 
wonderful  sunset  pictures  got  rounds  of 
anplause  at  the  Trade  show. 

SUMMARY. 

Direction  :  Excellent. 

Leads  :  Cleverly  acted. 

Supports  :  Very  fine. 

Literary  :  Story  yyeak,  continuity  and 
scenario  good 

Lighting  :  Good. 

Interiors  :  Magnificent  and  well  staged. 

Exteriors  :  Beautiful. 

Photography  •  Very  good. 


13 


THE  MOTION  PICTURE  STUDIO 


December  g,  1922 


COMPLETE  LIST  OF  ALL  THE  BRITISH  STUDIOS,  TOGETHER 
WITH  ADDRESSES,  TELEPHONE  NUMBERS, 


Adelqui  Millar  Productions. 

Address  :  1,  Leinster  Square,  W.2. 

Albert- Philli ps  Film  Production. 

Address  :  3,  Wardour  Street,  W.  ] . 
Phone  :  Regent  3282. 

Alliance  Film  Co. 

Studio  :  St.  Margaret’s,  Twicken' 
ham. 

Phone  :  Richmond  1945. 

Route  :  ’Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s.  Fare: 
1st,  2s.  04.,  3rd,  Is.  O^d.  ;  R.T., 
1st  3s.  Id.,  3rd  2s.  Id. 

From  Waterloo  :  A.m.,  every 
10  minutes  ;  from  St.  Margaret’s 
every  10  minutes. 

Artistic  Films,  Ltd. 

Address  :  93-95,  Wardour  Street, 
W.  1. 

Phone  :  Gerrard  3210. 

Film  :  “  The  Monkey’s  Paw.” 
Director  :  Manning  Haynes. 
Scenarist  :  Lydia  Hayward. 
Cameraman  :  Frank  Grainger. 
Stage  :  Fifth  week. 

Atlas  Biocraft. 

Address  :  16,  Albemarle  St.,  W. 
Gen.  Manager  :  Miles  Mander. 

Film  :  “  The  Man  without  Desire.” 
Director  :  Adrian  Brunei. 

Star  :  Ivor  Novello  and  Nina 
Vanna. 

Cameraman  :  Harry  Harris. 
Scenarist  :  Frank  Fowell. 

Stage  :  Eighth  week. 

Barkers. 

Address  :  Ealing  Green,  London, 
W.  5. 

Phone:  Ealing  211  and  1582. 
Route  :  District  or  C.L.R.  Tube  to 
Ealing  Broadway.  Piccadilly 
Tube,  change  at  Hammersmith. 
’Bus  Route  No.  17. 

Studio  Vacant. 

B.  &  C.  Productions. 

Address  :  Hoe  St.,  Walthamstow. 
Prone  :  Walthamstow  364  and  712. 
Route  :  ’Bus  38.  Tram  81  to 
Bakers’  Arms.  G.E.R.,  Liver¬ 
pool  Street  to  Hoe  Street. 
Fare :  1st  Is.  2d.,  2nd  10jd., 
3rd  7d.  R.T.,  1st  Is.  9d.,  2nd 

Is.  4d.,  3rd  101d. 

From  L.S.  :  A.m.  7.58,  then 
everv  few  minutes  until  p.m., 
9.5,  9.20,  9.35,  9.50,  10.5,  10.20, 

10.35,  10.50,  11.5,  11.20,  11.35, 

11.50,  12.5,  12.35  midnight. 

Hoe  Street  to  L.S.  :  A.m.,  7.53, 

8.2,  8.8,  then  every  few  minutes  ; 
p.m.,  8.20,  8.35,  8.50,  9.6,  9.20, 

9.35,  9.49,  10.6,  10.20,  10.36, 

10.50,  11.6,  11.20,  11.35,  12.2. 
Film  :  “  Wonder  Women  of  the 

World.” 

Type  :  One  reelers. 

Director  :  Edwin  Greenwood. 
Cameraman  :  A.  Kingston. 

Stage  :  One  a  fortnight. 


Faron  Films. 

Address  :  95,  St.  Martin’s  Lane, 
W.C.2 

Beehive  Production. 

Film  :  Comedies. 

Production  Manager  :  Geoffrey 
Benstead. 

Director  :  George  Dewhurst 

Assistant  Director  :  Horace 

Corbyn. 

Scenarist  :  Percy  Manton. 

Stars  :  Jimmy  Reardon  and  Mar¬ 
garet  Hope. 

Cameraman  :  G.  Pauli. 

Stage  :  Scheduled. 

British  Famous  Films. 

Address  :  “  Woodlands,”  High 

Road,  Whetstone. 

Phone  :  Finchley  1297. 

Studio  Vacant. 

British  and  Oriental. 

Address  :  B.  P.  Studios,  Thornton 
House,  Thornton  Road,  Clapham 
Park. 

Phone  : .  Streatliam  2652. 

Studio  Vacant. 

British  Photoplays 

Address  :  Devon  Chambers,  2S, 
Fleet  Street,  Torquay. 

Not  Working. 

British  Productions. 

Address  :  Selborne  Road,  Hove. 

Film  :  Historial  Subjects. 

Director  :  Lieut.  Daring. 

Cameraman  :  Bert  Ford. 


British  Super  Films. 

Address  :  Worton  Hall,  Islewortli. 
Phone  :  Hounslow  212. 

Route  :  ’Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth. 
Fare  :  1st  Is.  Odd.,  3rd  9d.  ; 
R.T.,  1st  Is.  9d.,"  3rd  Is.  6d.  ; 

а. m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 
past  each  hour  until  11.51  p.m. 
Extra  trains,  4.43,  5.13,  5.43, 

б. 13,  6.43,  7.13. 

Isleworth  to  Waterloo  :  8.33, 
8.44,  9.3,  9.14,  9.33,  9.44,  10.14, 
10.44  Same  minutes  past  every 
hour  until  10.44,  11.14  p.m. 
Extra  trains  5.30,  6.0,  6.30. 

Captain  Kettle  Films. 

Studios  :  Weir  House,  Broom 

Road,  Teddington. 

Daisy  Productions. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson 

Address  :  Lea  Bridge  Road,  E.  10. 
Phone  :  Walthamstow  634. 

Route  :  ‘Bus  Nos.  35  and  38. 
Trams  81,  55,  57. 

G.E.R.  from  Liverpool  Street 
to  Lea  Bridge  Road.  Fares : 
1st  Is.  2d.,  2nd  10Jd.,  3rd  7d. 
R.T.,  1st  Is.  9d.,  2nd  Is.  4d., 
3rd  104d.  A.m.,  10.34 ;  p.m., 

1.50,  3.5,  4.37,  6.27,  8.5. 


WE  CAN  DELIVER  FROM  STOCK 

The  Columbia  12  in.  by  2  in-  Silver-tipped 
Cartons  for  Wohl  and  other  Studio  Lamps. 

Recommended  by  Wohl  s  as  the  only  suitable  Carbon 
for  their  Lamps. 

UNITED  KINGDOM  PHOTOPLAYS,  Lid 

29a,  CHARING  CROSS  ROAD,  W.C  2. 

’Phone  :  Gerrard  8742. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


66 


'Phone  : 


DEBRIE 


99 

Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W.  i 


Lea  Bridge  to  Liverpool  Street : 
A.m.,  8.26  ;  p.m.,  1.4,  5.27,  5.54, 
6.29,  7.7,  8.4,  8.57,  10.4. 

Dewhurst  Productions. 

Film  :  "  What  the  Butler  Saw.” 
Director  :  George  Dewhurst. 

Star  :  Stewart  Rome. 

Cameraman  :  G.  Pauli. 

Stage  :  First  week. 

Film  :  “  The  Uninvited  Guest.” 

Director  :  George  Dewhurst. 
Star  :  Stewart  Rome. 

Cameraman  :  G.  Pauli. 

Stage  :  First  week. 

F  P.-Lasky. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
and  then  tram  No.  11. 

Studio  being  used  by  Grahame 
Cutts. 

Gaumont. 

Studio  :  L:me  Grove,  Shepherd’s 
Bush,  W.12. 

Phone  :  Hammersmith  2090-1-2. 
Route  :  ’Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station 

Film  :  “  Bonnie  Prince  Charlie.” 
Stage  :  Scheduled. 

Glen  Film  Productions. 

Address  :  20,  Lisle  Street,  W.C. 
Studio  :  “  Belgrave,”  Marine 

Terrace,  Aberystwyth. 

Not  working, 

“  Gems  of  Art  ”  Film  Co.,  Ltd. 

Address  :  1,  Bear  Street  (opposite  • 
Daly’s  Theatre). 

Films  :  “  Gems  of  Art.” 

Director  :  Norman  Macdonald. 
Cameraman  :  E.  Groc. 

Stage  :  Casting. 

Ceorge  uiark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Phone  :  Museum  3012. 

Film  :  “  The  Starlit  Garden.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Cameraman  :  H.  A.  Rendall. 

Stage  :  Starting. 

Grahame  Wilcox  Productions. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  ’Bus  38a,  to  North  Road, 
then  tram  No.  11. 

Film  :  Not  announced. 

Director  :  Grahame  Cutts. 

Stage  :  Starting  shortly. 

Cranger-Binger. 

Address  :  191,  Wardour  St.,  W.  1. 
Phone:  Gerrard  1081  and  1728. 
Studios:  Haarlem,  Holland. 

Film  :  “  The  Hypocrites.” 

Stage  :  Sixth  week. 

Granville  Productions. 

Address  :  61,  Berners  Street,  W.l. 
Phone  :  Museum,  2528. 

Film  :  “  Hennessey  of  Moresby.” 
Stage  :  Starting  shortly. 

Hardy. 

i  Address  :  13,  Gerrard  St., J W.l. 


14 


December  g,  1922 


THE  MOTION  PICTURE  STUDIO 


FULL  PARTICULARS  OF  CURRENT  PRODUCTIONS,  ROUTES 
AND  FARES  FOR  REACHING  THE  STUDIOS 


Harma  Clarendon. 

Address  :  16,  Limes  Road,  Croydon 
Phone:  Croydon 921  and 2084. 

Hepwcrth  Picture  Plays. 

Address  :  Walton-on-Thames. 
Phone  :  Walton  16. 

Route  :  From  Waterloo.  Fare  : 
1st  4s.  ll£d„  3rd  2s.  6d.  ;  R.T., 
1st  7s.,  3rd  4s.  4£d. 

From  Waterloo :  A.m.,  7.0, 

8.0,  9.20,  10.20,  11.20;  p.m., 
12.20,  1.20.  2.20,  3.20,  4.20,  4.54, 
5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  S.20,  8.55,  9.20,  10.20, 
11.34. 

From  Walton  :  A.m.  7.59,  8.29, 
8.41.,  8.56,  9.9,  9.46,  10.10,  11.10. 
p.m.,  12.10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44,  6.10,  7.10,  8.10,  9.10, 

10.10,  10.35,  11.34. 

Productions  scheduled  but  not 

announced. 

Ideal 

Address:  Boreham  Woods,  Elstree, 
Herts. 

Phone  :  Elstree  52. 

Route  :  Trains  from  St.  Pancras. 
Fare  :  1st  2s.  lid.,  3rd  Is.  9M.  ; 
R.T.,  double  fare.  A.m.,  7.30, 
8.0,  8.50,  9.55,  10.45,  11.48; 
p.m.,  12.33,  1.13,  2.35,  3.55,  4.45, 
5.12,  6.2,  6.45,  6.50,  7.20,  8.8 
9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras  : 
9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.3,  3.56,  4.56,  5.29.  6.18,  6.55, 
7.36,  8.54,  10.14,  11.3. 

Studio  Manager  :  F.  A.  Kendrick. 
Art  Director:  J.  T.  Garside. 

Film  :  “  This  Freedom.” 

Director  :  Denison  Clift, 

Star  :  Fay  Compton. 

Scenarist  :  Denison  Clift. 

Stags  :  Sixth  week. 


Film  :  “  Harbour  Lights.” 

Director  :  Tom  Terriss. 
Star  :  Tom  Moore. 
Cameraman  :  W.  Shenton. 
Stage  :  Completed. 

Film  :  “  The  Hawk.” 

Director  :  Frank  Crane. 
Star  :  Chas.  Hutchison. 
Stage  :  Third  week. 


Film  :  “  Out  to  Win,” 
Director  :  Denison  Clift. 
Stage  :  Scheduled. 


Film  :  “  Mary  Queen  of  Scots.” 

Director  :  Denison  Clift. 

Stage  :  Scheduled. 

International  Artists. 

Address:  52,  Shaftesbury  Av.W.  I 

Phone  :  6338. 

Film:  “  God’s  Prodigal.” 

Star  :  Donald  Crisp. 

Cameraman  :  C.  McDowell. 

Isle  of  Man  Films. 

Address  :  The  Manx  Studios, 
Isle  of  Man. 

Not  working. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington, 

Phone  :  Kingston  1617. 

Route  :  From  Waterloo  to  Tedding¬ 
ton.  Fare:  1st  2s.  7|d.,  3rd 
Is.  4d.  ;  R.T.,  1st  4s.  4fd.,  3rd 
2s.  8d.  From  Waterloo,  a.m., 
7.55.  Then  trains  every  few 
minutes  until  11.55  p.m.  From 
Teddington,  a.m.,  7.51.  Then 

trains  every  few  minutes  until 
11.1,  11.16/11.51  p.m.  ’Bus  27. 

Minerva  Films. 

Address  :  110,  Victoria  St.,  S.W  1. 

Phone  :  Victoria  7545. 

Not  working. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 

Phone  :  Shoreham  19. 

Quality  Films. 

Studio:  Windsor  Studios,  Catford. 

Phone  :  Lee  Green  948. 

Film  :  One  reelers. 

Director  :  George  A,  Cooper. 

Stars  :  Sydney  Folker  and  Joan 
McLean. 

Studio  Manager  :  S.  Folker 

Cameraman  :  R.  Terreaneau. 

Stage  :  One  a  week. 

Raleigh  King  Productions. 

Address  :  Watcombe  Hall,  Tor' 
quay. 

Studio:  Vacant. 

Regulus  Films. 

Address  :  48,  Carnaby  Street, 

Regent  Street,  W.l. 

Not  working. 

Samuelson  Film  Co. 

Address  :  Worton  Hall,  Isleworth. 

Film  :  “  A  Royal  Divorce.” 

Director  :  G.  B.  Samuelson. 


I  Star  :  Gwilym  Evans. 

Stage  :  Second  week. 

Seal  Productions. 

Address  :  171,  Wardour  Street. 

Phone  :  Regent  4329. 

Not  working. 

Screenplays. 

Address:  Cranmer Court, Clapham 
Phone  :  Brixton  2956. 

Route  :  ’Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll 

Address  :  Temple  Road,  Crickle- 
wood. 

Phone  :  Willesden  3293. 

Route  :  ’Bus  No.  16. 

Studio  Manager  :  J.  Grossman. 
Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart 
Rome  and  Edith  Bishop. 
Cameraman  :  D.  P.  Cooper. 

Stage  :  Nineteenth  week. 

Film  :  “  Top  of  the  World.” 
Director  :  Maurice  Elvey. 

Stage  :  Scheduled. 


Film  :  “  Open  Country.” 

Director  :  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  David 
Hawthorne 

Cameraman  :  A1  Moise. 

Stage  :  Cutting  and  assembling. 


Film  :  “  Sherlock  Holmes.” 
Director  :  George  Ridgwell, 
Star  :  Eille  Norwood. 
Cameraman  :  A1  Moise. 
Stage  :  Starting  shortly. 


Film  :  “  The  Sign  of  Four.” 
Director  :  Maurice  Elvey. 
Star  :  Eille  Norwood. 
Camerman  :  Jack  Cox. 
Stage  :  Fifth  week. 


Film  :  “  The  Wandering  Jev.” 
Star  :  Matheson  Lang. 

Stage  :  Scheduled. 


Film  :  “  Guy  Fawkes.” 

Director  :  Maurice  Elvey. 

Stage  :  Scheduled. 

J.  Stuart  Blackton. 

Address  :  Bush  House,  Aldwych. 
Phone  :  Central  1935. 

Film  :  “  The  Virgin  Queen.” 

Director  :  J.  Stuart  Blackton. 
Star  :  Lady  Diana  Manners. 


Cameraman  :  Nicholas  Musurca’ 
Stage  :  Cutting  and  assembling. 

Torquay  &  Paignton  Photoplays 

Address  :  Public  Hall,  Paignton 
Not  working. 

Union  Films. 

Address  :  Strand  Street,  Liverpool 
Phone  :  Central  (Liverpool)  325 
Not  working. 

Walker  Boyd  Sunshine  Produc¬ 
tions. 

Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. 

Address  :  Princes  Studios,  Kew 
Bridge. 

Phone  :  Chiswick  574. 

Route  :  ’Bus  Nos.  27,  105. 

Broad  Street  to  Kew.  Fare  : 
1st  Is.  4d.,  3rd  9d.,  RT.,  1st 
2s.  OJd.,  3rd  Is.  4d.  A.m.,  8.2, 

8.20,  8.45,  9.0,  9.47,  10.17,  10.47, 

11.17,  11.47;  p.m.,  12.17,  12.47, 

1.17,  1.47,  2.17,  2.47,  3.17,  3.47, 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40, 
6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 
8.47,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street : 
A.m.,  9.40,  10.8,  10.38,  11.8, 
11.38;  p.m.,  12.8,  12.38,  1.8. 

1.38,  2.8,  2.38,  3.8,  3.38,  4.8,  1.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20, 

6.38,  7.8,  7.38,  8.8,  8.38,  9.8,  9.38, 
Film  :  “  The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Florence  Turner,  Kathleen 
Vaughan,  Norah  Swinburne,  Fred 
Wright,  and  James  Knight. 
Stage  :  Cutting  and  assembling. 

Film  :  Not  announced. 

Stage  :  Starting. 

Welsh  Pearson. 

Address  :  41-45,  Craven  Park, 
Harlesden,  N.W.  10. 

Phone  :  Willesden  2862. 

Route:  ’Bus  No.  IS. 

Film:  ”  The  Romany.” 

Star  :  Victor  McLaglen. 
Director:  Martin  Thornton. 
Cameraman  :  Percy  Strong. 

Stage  :  Cutting  and  assembling. 


Film  :  Not  announced, 
j  Stage  Casting. 

Zodiac. 

|  Studio  :  Kingsbury  Studios. 

Film  :  Walter  Forde  Comedy, 
i  Stage  :  Scheduled. 


Recrefffliss  Quality  &  Service  wardour  st 

100%  FILM  1002 

amfcolcSm  Developers& Printers 


15 


THE  MOTION  PICTURE  STUDIO 


December  9,  1922 


THESE  ARE  HARD  LINES 


page.  The  lines  of  many  a  film 


worker  have  not  fallen  in  pleasant 


places.  And  to-day  they  are  in 


desperate  straits.  This  fact  alone 
is  enough  to  prompt  those  who 
are  sympathetic — and  practical  in 
their  sympathy — to  do  all  that  is 
possible  to  meet  the  needs  of  the 
hour.  Tnat  is  one  of  the  reasons 
that  prompted  us  to  reduce  the 
price  of  the  studio  worker  s  own 
professional  journal. 


V;. 

V 


Just  a  twist 


Enclosed  is  half-a-crown , 
Put  me  on  your  mailing  list 
for  13  weeks. 


of  the  wrist 


and  you’ll  tear  this  corner 
of  the  page  off  —  sign 
it  and  post  at  once. 


J 


Name 


Address 


(New  Subscription  Ra.es: — 13  Weeks,  2/6, 
Six  Months,  5/-;  One  Year,  10/- post  free.) 


93,  LONG  ACHE,  LONDON,  W.C.2 


Printed  and  PuMiahed  hv  ODHAMS  PRESS  Ltd.,  Long  Acre,  December  9,  1922 


NEXT  WEEK 


The  Next  Issue  of  “The  Motion 
Picture  Studio '  will  be  a  Special 


The  Reading  Matter  will  he  extra  good. 
The  Advertisements  will  he  good  reading  also. 


THERE  IS  JUST  TIME  FOR  YOU 
TO  SEND  IN  A  GREETING  CARD 
FOR  THIS  SPECIAL  NUMBER 


Small  Greeting  Card ,  Rate  -  £ 1  5s. 


THE  MOTION  PICTURE  STUDIO 


December  16,  1922 


ARTISTES 


ATHALIE  DAVIS 

Juvenile  Leads, 
Comedy  &  Emotional  Parts. 

Latest  Film  : 

“Hims  Ancientand  Modern.” 

“The  Last  100  Yards.” 
Corns.  :  70,  Goldhurst  Ter¬ 
race,  Hampstead,  N.W.6. 
’Phone  :  Hampstead  4200. 


NOEL  GRAHAME 

Heavy  Character  &  Comed3^. 
Heavy  lead  :  “  Bladys  of  the 
Stewponey,”  “Cost  of  a  Kiss,” 
“  Britain’s  Naval  Secret,”  etc. 
ii,  Clanricarde  Gardens, 

Hyde  Park,  W.2. 
Park  45 14. 
and  Kinema  Club. 

Photo  bv  Navana 


FLORENCE  INGRAM 

90a,  LEXHAM  GARDENS, 
KENSINGTON,  W.8 
West  4519. 

British  Super  Productions, 
Davidson  ;  Beacon  Films, 
Daisy  Productions,  “  Mrs. 
Stanton”  second  lead  in 
“  Gypsy  Blood.” 


MARY  ODETTE 

Just  concluded:  “The  Lion’s 
Mouse”  and  “The  Hypo¬ 
crites.’’ 

Latest  Releases  : 

“Wonderful  Year’ 

“AH  Roads  Leadtc  Calvary.” 
All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury,  Av.,  W. 1 
Regent  4329. 


GORDON  BEGG 

Dramatic  —  Character — 
H  utnorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.ll, 
Telephone  :  Battersea  21. 


GORDON  HOPKIRK 

Leads— Ideal:  ’Sybil,’  'Ernest 
Vlaltravers  '  Direct:  ‘Four 
MeninaVan.’  Masters  :‘Fra 
Diavolo,”  Bride  of  Lammer- 
moor,’  ‘Faust,’  ‘Maritana,’ 
‘Jane  Shore.’  ‘Stella’’: 
P.  &  B  ‘Settled  in  Full.’ 
B.&C  :  ‘The  Queen’s  Secret.’ 
Aitistic  :  ‘The  Skipper’s 
Wooing’  Address: 

School  House,  Tow  er  Str  eet, 
W  C  2  oi.Kinema  Club. 


MELINDA  LLOYD 

Alliance,  The  Councillor’s 
Wife  in  “The  Card,”  Ideal, 
Samuelson,  Granville  Pro¬ 
ductions,  Laskys,  etc. 

24,  PARK  VIEW, 
WELLING,  KENT. 


GEORGE  KEENE 

Star  Lead.  Disengaged. 
Featuring — “Black  Sheep,” 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters,” 
“Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 
Address  : 

121b,  Church  St.,  Croydon 
’Phone  :  Croydon  835. 


Rosina  Wright. 

‘Sister  Ursula”  in  “  Per- 
petua  Mary’(Famous-Lasky) 
“The  Nurse”  to  “The  Grass 
Orphan”  (Ideal  Film). 
“Philhpa”  in  “Open  Country” 
(Stoll  Film). 

8  years  Film  experience. 

8a,  GOLDERS  WAY, 
GOLDERS  GREEN, N.W11 
or  Kinema  Club. 


F  C  R  E  M  L  I  N  . 

Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club 


ARTISTES 


THELMA 

MURRAY 

Character  &  Emotional  parts 
Leads  for  Stoll,  Masters, 
Raleigh  King,  B.  &  C.,  etc. 
All  corns  :  “LYNDALE.” 
OAKLEY  RD.. 
WHYTELEAFE,  SURREY, 
or  to  the  Kinema  Club. 


DOUGLAS  WEBSTER 

Juvenile  Character  Lf  ads. 
Stage  Experience. 

Just  completed  “Leroy 
Lindsay”  in  “Shifting  Sands'’ 
(Granville  Production-). 
All  coins.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av. 
’Phone  :  Regent  4329. 


ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 
Character  Parts,  “  Mrs.  Galty,”  in  “Christie 
Johnstone  ’’  (Broadwest),  “  Margaret  Howe” 
in  “  Beside  the  Bonny  Brier  Bush  ’’  (Lasky), 
“Nanny”  in  “  Tell  your  Children’’  (Interna- 
ticna')  “Anna  ”  in  “  The  Prodigal  Son  ”  (Stoll). 

55.  Campden  St.,  Kensington.  W.8. 

Tel.  :  Park  3623. 


HUGH  MILLER 


6,  MILLMAN  ST., 
W.C.l. 


Telephone  : 
Gerrard  443  2 


ARTHUR  PUSEY 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagoon”  for  I.V.T.A 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 

CHARACTER 
ACTOR. 

INVITES  GOOD  OFFER.  Plus  or  minus  all  or 
any  portion  of  NATURE’S  Beard  and  Moustache. 
Beard,  etc.,  NOW  in  the  rough. 

Stoll,  Blackton,  Fox,  The  Windsor,  etc. 
VARIED  STAGE  EXPERIENCE. 
Address  :  See  “  Who’s  Where.  ’ 

’Phone:  Streatham  264. 


PAIGE, 


CHARLES  LEVEY 

£ s  Captain  Gething  in  the  Artistic  Production, 
“  The  Skipper’s  Wooing.” 

At  present  playing  “  Earl  Paget”  in  t.he  J.  Stuart 
Blackton  Production  “The  Virgin  Queen.” 
Address  : 

15,  STOKENCHURCH  ST.,  FULHAM,  S.W.6 


MAD  WILSON 

Haunchback — Dwarf — Anim d  Impersonator. 
Recently ’appeared  in  the  following: — 

“  Gypsy  Cavalier,”  “  I  he  Romany,’’  “Virgin 
Queen.” 

Now  doing  interims  for  Maurice  Elvey’s  Pro¬ 
duction  “The  Sign  of  Four.” 

Coms.  :  28a,  Danehurst  S'reet,  Fulham,  S.W.6. 


MILTON  ROSMER 

INVITES  OFFERS. 

1  f,  Weymouth  Street,  W. 1.  Phone:  Langham  2243 

MRS.  HUBERT  WILLIS, 

Character  and  Emotional  Parts. 

29,  St.  Peter’s  Square,  W.6.  ’Phone:  Hammersmith  85, 
or  Kinema  Club.  Regent  2131. 


HETTY  CHAPMAN 

Character  pnd  Comedy. 

18,  WYMER1NG  MANSIONS, 

MAIDA  VALE,  W. 


ARTISTES  . 


MARIE 


AULT, 


Character  and  Comedy. 

235,  King’s  Road,  Chelsea 

WARREN  HASTINGS, 

5,  FOND  PLACE, 
CHELSEA,  S.W.3. 

IN  VITES  OFFER  S. 

COSTUMIER.  ^  . 

Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W. 

’Phene;  Gerrard  612. 


SCENARISTS  . 


THERE  IS 


Half  Page 

£3  - 

10 

-0 

Third  Page 

£2  - 

15 

-0 

Quarter  Page  - 

£2  - 

0 

-  0 

Sixth  Page 

£1  - 

10 

-0 

Eighth  Page 

£1  - 

5 

-  0 

Blockmaking 

Extra 

Last  day  for  matter 

—  Monday. 

GERALD  DE  BEAUREPAIRE. 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17 

K  I  N  C  H  E  N  WOOD, 

Late  Wm.  Fox  Studios,  Los  Angeles. 

7,  Wymering  Mansions,  Maida  Vale,  W.9 

JOHN  SALTER  Ertfggh“d 

CAMERAS,  PROJECTORS, 

LOCAL  TOPICALS, 

13,  Featherstone  Buildings,  Holborn,  W.C  1. 
_ ’Phone— Chancery  7 408 . _ 

ILLUSTRATION! 

ARTIST  DESIRES  COMMISSIONS 
OR  POST. 

SPECIALIST  CINEMA  WORK. 

HANBURY,  13,  FREELAND  RD., 
EALING  COMMON,  W5. 


- JUST  TIME 

for  you  to  send  along  a 
Greeting  Card  for  the 

Tmas  ihintlu'v 

of  the 

'  Ittotton  JJictun’  J^tuiritY 

which  will  be  on 
Sale  Next  Friday, 

Advertising  Rates  : — 


2 


December  16,  1922 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93.  Long  Acre, 
London,  W.C.2, 


Vol.  2  No.  80 


Telegrams— 
Southernwood, 
Rand,  London 
Telephone — 
Gerrard  9870. 


Dec.  16,  1922 


Unchanging  Art. 

C LOWLY  but  none  the  less  surely,  the 
film  is  being  recognised  as  a  form  of 
art.  There  are  still,  of  course,  those  who 
refuse  to  concede  this  point  ;  who  argue 
that,  after  all  is  said  and  done,  film  enter¬ 
tainment  is  merely  the  old  showman  game 
and  in  the  same  category  as  circuses  and 
the  old  “  tuppeny  gaff.”  But  those  who 
so  think  are  being  more  hopelessly  out¬ 
numbered  every  day.  For  Art  is  im¬ 
mutable — unaltered  and  unalterable  in 
essence — only  the  instrument  of  art  and 
its  mechnical  developments  change.  To 
mark  the  film  down  as  being  non-art 
simnly  because  it  is  different  in  technique 
to  the  stage  and  the  engraving  can  only 
be  the  attitude  of  the  folk  who  believe  that 
musical  art  stopped  at  the  harpsichord. 
The  oianoandthe  saxophone  are  as  caoable 
of  reflecting  the  same  art  that  was  reflected 
by  the  harpsichord  as  the  film  is  able  to 
express  the  same  art  that  is  reflected  bv 
the  stage.  It  is  merely  a  question  of 

instrument  and  form  of  expression. 

*  *  * 

Film  Reconstruction. 

WE  are  not  denying  that  in  the  past 
the  Art  of  the  film  has  been  pros¬ 
tituted  and  persecuted.  Men  without 
enough  artistic  feeling  to  put  the  skin  on 
a  sausage  have,  with  clumsy  fingers, 
gripped  the  fragile,  delicate,  sensitive 
thing  called  Film  Art,  and  it  has  been 
crunched  and  crumbled  in  the  brainless 
grm.  If  films  are  to  attain  their  right 
oosition  in  the  scheme  of  art,  they  must 
be  saved  from  the  clowning  fools  and  the 
foolish  clowns ;  and  the  artistry  of  the 
dramatist,  the  colouring  of  the  painter, 
the  skill  of  the  photographic  artist  and 
the  soul  of  the  histrionic  artiste  must  be 
mobilised  in  a  corporation  of  intellectual 
interest  that  will  perceive  the  commerce  in 
Art  rather  than  the  art  of  commerce. 


The  Big  Day. 

TN  the  future,  we  hold,  there  is  going  to 
be  a  serious  attempt  to  free  the  film 
from  its  bad  traditions  and  its  mad 
exploiters.  The  stage  has  nothing  to  fear 
from  the  film  because  both  has  its  dis¬ 
tinctive  appeal.  But  the  Big  Day  for  the 
latter  is  when  the  men  who  have  helped 
make  the  former  the  power  it  is,  will  lend 
their  endeavours  to  the  film.  The  great 
playwrights  and  dramatists  must  give  to 
the  New  Art  the  benefit  of  their  experience 
and  tested  technique  ;  the  symphony 
composers  must  hang  their  scores  on  the 
scenario ;  the  same  art  that  the  scenic 


painter  has  applied  to  the  stage  must  be 
applied  to  pictorial  composition  in  photo- 
graohic  values.  When  the  great  brains 
and  greater  souls  of  the  best  artists  of  our 
day  are  thus  devoted  to  the  New  Art,  the 
film  will  have  achieved  the  same  true 
greatness  of  which  the  stage  now  has  the 
monopoly. 

*  *  * 


Fundamentals  of  Drama. 

“  TELE :  me  a  story,”  should  be  the 
basic  principle  on  which  the 
dramatic  art  is  constructed.  We  are  not 
to  be  numbered  among  those  who  profess 
to  believe  that  the  stage,  the  screen  and  the 
novel  should  propagate  doctrines.  The 
stage,  the  screen  and  the  story  should, 


next  Sleek 

the  Sacond  Christmas 
Number  of  ‘  The 
Motion  Picture  Studio’ 

-  will  be  published  - 


jfilll  of  (Sooi)  Swings 


Every  Artiste  should 
publish  a  Greeting 
Card' — the  cost  is  low 
and  the  value  hi^h 

LAST  DAY  FOR  COPY 
Tuesday,  December  19 

Phone  or  Write  : 
Gerr.  9870.  93,  Long  Acre 


first  of  all,  entertain.  As  an  indirect  con¬ 
sequence  they  may  “  point  a  moral  ”  but 
only  in  so  far  as  it  “  adorns  a  tale.”  The 
story  comes  first,  last  and  all  the  time. 
That  is  why  we  have  such  sublime  belief 
in  the  power  and  the  future  of  the  film — 
it  can  tell  a  story.  And  the  story  it  must 
tell  must  be  in  accord  with  the  true 
principles  of  Art ;  that  is  :  the  story  must 
ring  true  to  human  experience.  Art  is  to 
picture  emotion  ;  and  emotion  cannot  be 
divorced  from  some  phase  of  human  ex¬ 
perience.  In  this  respect  then,  the  stage  and 
the  screen  and  the  novel  are  alike  Art — 
they  depict  the  emotion  derived  from  actual 
human  experience.  But  it  is  in  the  manner 
of  depicting  this  that  they  differ  and 
therefore  have  their  distinctive  appeals. 


It  is  in  the  clothing  of  the  drama  that  the 
stage  differs  from  the  novel  and  the  screen 
from  both  :  but  it  is  exactly  that  difference 
that  constitutes  the  respective  values  of 
each.  And  our  pnde  is  in  the  fact  that 
millions  of  people  have  had  their  imagin¬ 
ation  stirred  and  captivated  by  screen 
drama  who  have  sat  stonily  stolid  through 
two  decades  of  stage  plays  and  novels. 

*  *  * 

Our  Wonderful  Club. 

JN  a  few  days  time  the  Kinema  Club 
will  celebrate  its  first  birthday.  There 
will  be  general  rejoicings  and,  we  hope, 
revelry.  There  will,  no  doubt,  be  attempts 
to  make  out  a  social  balance  sheet  of  the 
successes  of  the  past  year,  but  we  feel 
that  no  one  will  ever  be  able  accurately 
to  appraise  the  true  value  of  the  Club 
to  the  profession  as  a  whole.  What  we 
should  very  much  like  to  do  would  be  to 
get  each  individual  member  to  record  his 
and  her  actual  feelings  and  emotions  day 
by  day  during  the  past  year.  What  a 
record  of  hope  renewed,  fears  dispelled, 
spirits  cheered,  ambitions  revived,  deter¬ 
mination  re-strengthened  !  We  feel  that 
the  moral  effect  of  the  Club  has  far  out¬ 
weighed  even  the  very  pronounced  tangible 
benefits.  During  the  year  there  have  been 
the  usual  crises  associated  with  any  new 
venture  of  that  description.  But,  thanks 
to  the  wonderful  spirit  exhibited  by  all 
the  members  and  inspired  by  that  Big 
Man — George  Ridgwell — the  Club  has 
weathered  every  little  gale  and  is  now  in 
safe  harbour.  If  we  may  be  allowed  to 
strike  a  personal  note — generated  by  reason 
of  the  reminiscent  mood  that  the  birthday 
occasions — we  would  say,  in  looking  back 
on  those  very  strenuous  days  a  year  ago, 
that  we  do  not  begrudge  any  of  the  strength 
expended  and  service  given.  The  Club 
with  its  year  of  service  is  sufficient  reward 
for  all  the  long  days  (and  half-nights  !)  of 
work  and  worry.  The  weary  round  of 
committee  meetings,  night  after  night,  in 
this  office  ;  the  pile  of  correspondence 
rendered  necessary ;  the  organisation  of 
meetings  ;  the  one-milhon-and-one  in¬ 
cidental  duties  that  had  to  be  performed, 
the  undertaking  of  work  wholly  alien  to  us, 
was  all  done  in  those  days  with  a  faith  in 
the  future  of  an  Ideal — an  unformed, 
intangible  Club  yet  to  be  created — that 
has  since  been  realised.  That  fine  band 
of  workers  who  shared  the  long  hours  in 
those  days  stand  with  us,  we  are  sure,  and 
view  with  grateful  pride  the  One-Year- 
Old  Club.  Vive  la  Club. 


3 


THE  MOTION  PICTURE  STUDIO 


December  16,  1922 


CAMERAMEN. 


ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN— 

:  SCIENTIFIC  OUTFIT.  ; 

Formerly  Chief  Cameraman  for  Tanliauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  Street,  W.C.2. 

’Phone — Regent  2131. 

L.  G.  E  G  R  O  T 

EXPERT  CAMERAMAN. 

“  The  Better  ’Ole,”  etc.,  etc., . 

. “  The  Wonderful  Story.” 

Offices  and  Dark  Rooms  : 

2b,  Streatham  PI  ace,  S.W.2. 

’Phone  :  Streatham  3085. 


To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
——SUPPLIED - 

From  your  own  Photo,  in  best  glossy  style  : — 

One  position,  per  gross  -  -  -  -  17/6 

Two  positions,  Half  gross  of  each  -  30/- 

Single  dozen . 3/6 

Enlargements,  each . 10/6 

Samples  can  be  seen  at 
THE  PICTURE  SALON, 

88,  Long  Acre,  W.C.2. 


LEICHNERS 

WORLD 
RENOWNED 


Special  Greens  and 
Mauves  for  film  work 
always  in  stock. 


Obtainable  from  all  Chemists 
and  Theatrical  Costumiers. 
Price  8d .  per  stick. 


reusiT 

A?5 

leicbaer 

6ERLJt» 


If  any  difficulty  in  obtaining 
same  apply  direct  to 

Sole  British  Agents : 

VANITIES  LTD., 
15a,  Whitcomb  St. 

(Off  Leicester  Sq.), 

W.C.2 


GREASE 
PAINTS 

&  POWDERS 


WHO’S  WHERE. 


Several  directors  have  explained  to  us 
the  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 


“  'JpHE  most  useful  column,  to  my  mind, 
and  one  which  I  would  like  to  sea 
extended  to  embrace  all  artistes,  is  ‘Who’s 
Where.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful. 

GHALLIS  N.  SANDERSON. 

“  T  PERSONALLY  would  like  to  see 
-*•  more  artistes  using  vour  space  under 
the  heading  of  ‘  Who’s  Where.’  ” 

H.  B.  PARKINSON. 

“  'T’HE  column  which  is  of  most  service 
to  us,  and  which  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  ” 
NORMAN  WALKER  (Cant.),  Alliance  Films. 


ATWOOD,  ALBAN :  25,  Stanley  Crescent, 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  I97A,  LatchmereRoad, 
S.W.ii.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercorn  Place,  N.W. 
Hampstead  3083 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS.  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

CAREW,  JAMES,  15,  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3904 

CHESNEY,  ELIZABETH:  c/o  Miss  M,  rris, 
25,  Clevedon  Gardens,  W.2.  (Fiat  4). 
Padd.  5844. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
Redcliffe  Gardens,  S;WT.10.  ’Phone : 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.i  1.  Park  2077. 

ESMOND,  ANNIE :  43,  Richmond  Road, 
Westboume  Grove,  W.2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

FANE,  DOROTHY  :  12 a,  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 

GRACE,  ADELAIDE,  103,  Morshead 
Mansions,  Maida  Vale,  W.  9. 

GRAFTON,  GEORGE  :  289,  Scott  Ellis 
Gardens.  St.  John’s  Wood,  N.W. 
Paddington  6928. 

GREGORY,  FRANK,  Character ,  107,  St. 
Alban's  Avenue,  W.4. 

HARRIS,  GEORGE,  33,  Torrington  Square, 
W.C.l. 

HOPE,  MARGARET,  Character  and  Juvenile 
Leads.  Late  Ideal,  Masters,  Stolls,  etc., 
etc.,  5,  Balcombe  Street,  Dorset  Square, 
N.W. 1.  Padd.  2284. 

HOWARD,  LIONELLE  :  108,  Alderbrook 
Road,  Bilham,  S.W.i 2. 

JONES,  T.  ARTHUR:  “High  Tor,” 
Summer  Road,  Hampton  Court. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 


LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Fleathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977. 

NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting  S.W.  Streatham  264. 

PAXTON,  SYDNEY  :  28,  BedforJ  Place, 
Russell  Square,  W.C.  Museum,  7^35. 

RAYMOND,  JACK:  53,  Coldharbour  Lane, 
Camberwell.  S.E.5. 

RAYNER,  MINNIE:  Kingwater  Cottage, 
Church  Walk,  Thames  Ditton. 

RAYNOR,  ALBERT  E.,  “  Strathmore,” 
Spencer  Road,  Chiswick,  W.4. 

ROME,  STEWART:  10,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  32.  Lauderdale  Mans., 
Maida  Y’ale.  Maida  Vale  2177, 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  15,  Grove 
Mansions,  North  Side,  Clapham  Com¬ 
mon  12.  Latchmere  4343. 

STEERMAN  A.  HARDING  :  56  Portland 
Road,  W.i  1.  Park  2329. 

STERROLL,  GERTRUDE :  14,  Queen's 

Road.  St.  John’s  Wood,  N.W.8 

TEMPLETON,  BEATRIX:  20,  Foxglove 
St-eet,  Wormholt  Estate,  W.  12. 

THATCHER,  GEORGE :  33,  Denbigh 

Stre  t,  Belgrave  Road,  S.W.  Viclor.a 
2060. 

TOD  MALCOLM,  The  Kinema  Club,  9, 
Gt.  Newport  St.,  W.C.2. 

TREE,  MADGE:  15,  Lancaster  Court,  New¬ 
man  St.,  W.i.  Museum  7241. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 
2131. 

WALCOTT,  ARTHUR:  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W. 2.  Regent  2131. 

WILLIS,  HUBERT,  Mrs.,  29,  St.  Peter’s 
Square,  W.6.  Hammersmith  85. 

YORK,  CECIL  MORTON  :  Kinema  Club, 
9,  Great  Newport  Street.  Regent  2131. 

Two  lines ,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a  year,  prepaid. 

Extra  lines,  is.  per  insertion. 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M’LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.I, 

’Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  2131. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 
NOW  BACK  IN  LONDON. 


4 


December  16,  1922 


THE  MOTION  PICTURE  STUDIO 


Intimate  Studio  Qossip 


J  am  very  pleased  to  hear  of  Bert 
Wynne’s  success — pleased,  I  might 
add,  but  not  surprised.  It  will  be  re¬ 
membered  that  his  “Call  of  the, East 
received  a  flattering  reception  at  the 
Trade  show,  and  now  I  learn  that  the 
U.K.  rights  of  this.  Bert  Wynne  pro¬ 
duction  have  been  sold  to  Curry’s  Ex¬ 
clusives,,  of  Manchester,  and  the 
U.S.A.  rights  have  been  disposed  of 
to  a  powerful  organisation  in  New 
York. 

T\7dth  reference'  to  the  opening  of  the 
Kinema  Club  on  Christmas!  Day, 
A.  Harding  Steerman  informs  me  that 
it  has  been  unanimously  decided  by 
the  House  Committee  to  close  the 
Club  in  order  that  the  staff  may  have 
the  opportunity  of  spending  Christ¬ 
mas  Day  with  their  relatives  and 
friends.  It  is  a  fact,  however,  that 
some  of  the  members  are  holding  a 
little  party  on  the  premises,  which 
will,  of.  course,  be  open  to  any  mem¬ 
ber  who'  cares  to  make  use  of  the 
Club  on  this  day,  although  no  member 
of  the  staff  will  be  present. 

Two  minor  corrections  :  In  the  last 
issue  the  name  of  Richard  Atwood! 
(who  played  so  excellently  in  Gran¬ 
ville’s  “Shifting  Sands”),  was 
spelt  “  Attwood  ”  ;  and!  Charles  Bar¬ 
rett,  who  has  been  playing  Napoleon 
in  “The  Wonder  Woman  of  the 
World,”  was  described!  as  Charles 
Bennett.  Apologies  to  both  ! 

Edmund  Goulding,  the  most  highly 
paid  scenarist  in  America,  who  is 
a  Londoner  by  birth,  was  met  at 
Southampton  on  (Sunday  on  arrival 
per  the  Aquitania,  by  the  Mayor,  who 
afterwards  gave  an  official  reception  in 
the  South-Western  Hotel,  at  which 
the  leading  lightsi  of  the  kinema  world 
and  others  were  present.  During  the 
course  of  a  cordial  address  the  Mayor 
said  he  vas  very  proud  to  receive  a 
lad — if  he  might  apologise  for  using 
that  term — who  had  achieved  such  bril¬ 
liant  success  in  America  and  hoped 
in  the  future  his  talents  would  be  de¬ 
voted  to  his  own  country.  He  re¬ 
gretted  that  we  were  “so  slow”  i* 
this  country  in  recognising  genius  in 
our  own  people.  Goulding  is  here  on 
a  holiday  to  see  relatives,  and  goes 
back  to  direct  one  of  his  own  stories 
for  Famous-Lasky  in  America  in 
January.  His  adaptation  of  Marion 
Crawford’s  “The  White  Sister”  is 


now  being  filmed  in  Italy  with  Lilian 
Gish,  who  is  shortly  visiting  England 
herself.  Goulding’s  book,  “Fury,” 
which  created  a  sensation  in  America, 
is  being  published  in  this  country  im¬ 
mediately.  Goulding’s  most  famous 
film  .stories  produced  this  year  are 
“Fascination  ”  and  “Peacock  Alley.” 
(See  photo  on  page  9.) 

Jvor  Novella,  the  famous  young  com¬ 
poser  and  screen  star,  who  has;  just 
finished  filming  in  Venice  in  “The 
Man  Without  Desire,”  under  the 
direction  of  Adrian  Brunei,  has  signed 
a  three  years’  contract  with  D.  W. 
Griffith  to  play  juvenile  lead  in  seven 
super  films,  and  left  for  New  York 
last  Wednesday.  Ivor  Novella  is  the 

ENJOY  YOUR  XMAS 

By  Reading  and  Advertising  in  our  Next  Issue. 

first  Englishman  chosen,  by  Griffith 
for  juvenile  lead,  and  will  do  two  super 
films  a  year,  with  about  three  months’ 
vacation  between  each,  which  he  will 
spend  in  England.  This  represents 
the  first  important  A  ng*kr  American  ex¬ 
change  of  film  stars.  Mae  Marsh  came 
to  England  a  little  while  ago-,  andi  will 
retuirn  toi  America  shortly  to  play 
opposite  Ivor  Novelloi. 

And  now  I  have  just  received  news 
of  another  American  contract  — 
Gibson  Gowland  has  just  received  an 
offer  by  cable  from  Goldwyn  in  Los 
Angeles  to  play  the  lead  in  “The 
League,”  which  is  from  the  novel  of 
the  same  name,  and  which  Eric  von 
Stroheim,  of  “ Foolish  Wives  ”  fame, 
will  direct. 

One  of  the  attractions  at  the  recently 
held  fair  at  the  Hotel  Cecil  was  the  ' 
tent  where  Bertram  Burleigh  was  in 
attendance.  For  the  small  sum  of  a 
shilling  it  was  possible  to  be  hypno¬ 
tised  here,  and  in  addition  to  knowing 
that  it  was  helping  a  good  cause,  you 
enjoyed  the  novel  experience  of  going 
into  a  hypnotic  sleep.  Burleigh  made 
quite  a  lot  of  money  for  the  hospitals 
by  giving  a  number  of  performances 
daily. 

"\yhen  J-  Stuart  Blackton  made  “The 
Glorious  Adventure,”  he  started 
afresh  the  craze  for  making  historical 


films.  Since  then  we  have  had  “The 
Gipsy  Cavalier,”  “  Elizebeth,  the  Virgin 
Queen,”  the  B.  and  C.  Historical 
Dramas,  “Byron,”  “Rob  Roy,”  and 
now  we  are  shortly  to  have  “  Bonnie 
Prince  Charlie,”  “A  Royal  Divorce,” 
and  “Nell  Gwynne.”  “Bonnie  Prince 
Charlie  ”  is,  to  be  made  by  Gaumont 
early  next  year,  Samuelson  is  already 
directing  “A  Royal  Divorce,”  while 
George  Pearson  commences  work 
shortly  on  “Nell  Gwynne,”  in  which 
Betty  Balfour  will  be  featured,  and 
which  will  be  written  by  Alicia  Ramsey. 
One  more  historical  subject  only  re¬ 
mains  to  be  mentioned,  and  that  is 
“Mary,  Queen  of  Scots,”  which  Deni¬ 
son  Clift  is  to  make. 

Had  a  brief  note  from  Cecil  Morton 
A'ork,  who  isi  playing  for  George 
Dewhurst  in  Germany.  He  says  he 
expects  to  be  back  for  Christmas. 

]S[ext  week  will  see  our  “  1922  Christ¬ 
mas  Number  ” — full  of  good  things. 
And  if  you  are  wise  you’ll  advertise  in 
it.  Do  it  now. 

With  wonderful  enthusiasm  Victor 
McLaglen  and  Fred  Wright  were 
welcomed  on  Saturday  night  last  by 
the  picturegoers  of  Birmingham.  After 
having  travelled  on  foot  all  the  way 
from  London,  they  reached  Acocks 
Green  on  Saturday  afternoon  last  at 
4  p.m.  They  were  met  by  well-known 
representatives  of  the  kinema  trade 
and  later  visited  a  number  of  picture 
theatres  in  the  town.  They  are  both 
wonderfully  fit  and  have  been  favoured 
with  fine  weather  during  the  whole  of 
their  journey. 

East  Tuesday  they  entered  Stoke-on- 
Trent  a  day  ahead  of  scheduled  time, 
Where  they  were  welcomed  by  mem¬ 
bers  of  the  C.E.A.,  who  are  visiting 
Stoke  for  a  conference.  McLaglen 
declares  that  he  has  never  spent  a 
more  delightful  or  enjoyable  holiday, 
and  although  Fred  Wright  has  be¬ 
come  a  little!  footsore  at  times,  his 
spirits  have  never  flagged.  Both 
stars  attended  the  Kinema  Carnival 
which  was  held  at  Stoke  last  Wednes¬ 
day  after  which  they  returned  by 


5 


THE  MOTION  PICTURE  STUDIO 


December  16,  1922 


ESSENTIALS  OF  SUCCESS  SHARKS! 


by  ROY  CALVERT 


X GLAND  is  now  facing  a  great  crisis 
in  the  film-producing  world,  and  it 
is  a  question  of  11  To  be  ”  or  “  Not  to  be  ’ 
a  great  film-producing  nation.  Are  we 
going  to  allow  the  trade  to  slip  through  our 
fingers  or  not?  It  is  a  question  to  which 
the  answer  lies  mainly  outside  the  Industry, 
a  question  to  be  answered  by  those  who  take 
a  financial  interest  in  pictures. 

Let  us  analyse  the  position  of  the 
Industry  in  this  country,  and  try  and  find 
an  answer  to  all  our  present  troubles.  Con¬ 
sider  the  position  now  and  the  position  a 
ftw  years  ago,  are  we  going  up  or  down 
;he  ladder  of  success?  The  ladder  that 
stands  on  hard  rocky  bottom  of  failure,  and 
towers  into  the  heights  of  a  prosperous  anu 
wealthy  Industry.  We  seem  to  be  standing 
still.  I  do  not  mean  our  pictures  are  not 
better  pictures  than  we  produced  a  few 
years  ago — as  we  gain  experience  our 
pictures  are  bound  to  rise  in  their  merits 
as  plays.  What  I  do  mean  is  that  the 
general  welfare  of  the  Industry  has  not 
risen.  It  is  standing  still.  Why?  Because 
we  have  not  got  the  one  thing  to  give  it 
that  extra  little  shove  that  is  needed,  we 
have  not  got  the  public  support  and  the 
money  we  need. 

Other  countries  have  realised  the  money 
to  be  made  out  of  the  Kinema,  they  have 
seen  the  possibilities,  and  are  now  passing 
us  on  the  ladder  to  success.  A  few  years 
ago  this  country  held  the  second  position 
among  the  producing  nations  of  the  world. 
Now  France,  Italy,  Sweden,  and  especially 
Germany,  are  passing  us. 

Germany  Passing  Us! — Germany,  a 
country  that  has  built  out  of  a  few  ashes,  a 
great  industry.  Why  cannot  we  compete 
against  these  countries?  Because  they  have 
the  support  we  lack,  MONEY.  The  public 
of  these  nations  has  seen  the  wealth  and 
power  that  lie  behind  the  Kinema. 

What  are  the  ways  a  country  becomes 
famous  for  its  films — comes  into  the  world’s 
spotlight?  It  gets  there  by  hard  work,  by 
perseverance,  by  working  mutually  together 
— everyone  helping  everyone  else,  and  last 
of  all,  it  often  makes  a  name  by  making  a 
super-picture.  Consider  these  four  state¬ 
ments  : — 

•  Hard  Work. — Do  we  v/ork  hard?  I  think 
so,  perhaps  not  as  hard  as  we  might. 

Perseverance. — Do  we  lack  it.  Some  do. 
But  on  the  whole  we  all  go  on  trying. 

Working  Mutually  T ogether . — Do  we  work 
mutually  together?  No,  I  do  not  think  we 
do'.  e  often  w/or(k  at  the  expense  of 
others,  pushing  them  down  so  that  we  may 
climb.  We  work  not  for  the  common  good, 
but  for  ourselves  alone.  If  the  majority  of 
us  tried  to  help  each  other,  and  worked  for 
the  good  of  everybody  .and  furthered  the 
interests  of  the  Industry — instead  of  think¬ 
ing  of  self  only — we  should  be  a'  much 
happier  and  more  prosperous  Industry.  If 
every  artiste  engaged  on  a  film  thought 
more  of  IIow  can  I  help  to  make  this  film 
a  great  success,  ’  instead  of  ‘'How  much  can 
I  get  out  of  this,”  we  should  gain  a  lot. 
Thank  God  there  are  as  many  hard  and 
conscientious  workers  as  there  are  people 
of  the  type  I  have  just  mentioned. 

Super-Pictures. — Why  do  not  we  make- 
more  of  them?  Because  we  have  not  got 
the  Money.  Super-pictures  are  not  made 
by  money  alone,  but  it  needs  money  to  buy 
the  brains,  to  engage  the  best  artistes,  to 
equip  them  with  everything  they  want,  and 
to  be  able  to  spare  no  expense  so  that  the 
picture  may  be  good. 

Super-pictures  are  needed  now,  America 
has  recognised  this,  and  is  now  turning 


out  fewer  but  better  pictures.  We  must  do 
the  same,  not  because  America  is  doing  so, 
but  because  it  is  common  sense  to  do  so. 
Wherever  you  go  you  hear  people  asking 
to  see  good  British  pictures.  I  do  not  say 
that  the  ordinary  British  ^5,000  or  ,£10,000 
five-reeler  is  not  good,  it  can  be  excellent, 
and  might  do  very  well  if  the  company  that 
made  it  could  afford  to  exploit  it  well.  But 
the  general  feeling  is  that  people  want  some 
thing  of  a  super-attraction  now,  and,  if  it 
is  British,  all  the  better.  We  cannot 
supply  this  demand.  Why?  Because  the 
MONEY  is  not  forthcoming  to  make  these 
pictures. 

There  is  unemployment  among  the  artistes 
in  this  country,  <here  is  unemployment  in 
other  countries,  but  nothing  like  it  is  here. 
There  are  producing  concerns  closed  down. 
There  are  producing  firms  ready  to  start. 
But  neither  can  the  old  firms  open  up  nor 
the  new  firms  start  because  the  money  is 
not  there.  And  all  the  while  the  artistes 
so  on  starving. 

Money.  Money.  Money.  That  is  the 
answer  to.  everything.  Can  no  attempt  be 
made  to  find  this  elusive  stuff — money?  Let 
u.s  find  out  where  the  money  is.  The  big 
capitalists  have  it,  and  they  are  occasionally 
’interested  in  films,  but  rtjhe  bulk  of  the 
money  that  might  be  got  for  the  film-pro¬ 
duction  is  still  unexploited.  Where  is  it? 
The  small  holders  have  it.  There  are  many 
small  holders  all  over  England  who  would 
like  to  put  money  into  pictures.  There  are 
many  people  who  read  the  “  Fan  ”  papers, 
who  would  like  to  put  money  into  pictures. 
There  are  many  exhibitors  and  other  men 
who  would  like  to  put  £500  or  1,000,  but 
they  do  not  know  Low  to  do  it.  They  do 
not  know  where  to  trust  their  money  and 
where  not  to.  The  money  these  siman 
holders  could  shower  upon  the  Industry 
would  surpass  the  wildest  dreams  of  any 
film  company’s  idea  of  capital. 

The  film  Industry  is  at  a  standstill  for 
the  want  of  money.  Its  workers  starve  for 
want  of  employment,  and  yet  no  steps  are 
taken  to  get  this  great  wealth  that  is  wait¬ 
ing. 

Some  committee  should  be  formed  to 
inquire  into  this.  To  decide  how  this 
money  can  be  got,  and  once  got,  more  im¬ 
portant  still,  how  it  is  to  be  used.  Perhaps 
this  journal  or  its  readers  can  offer  some 
suggestions  which  somebody  will  have  the 
courage  to  take  up.  For  money  is  waiting 
for  the  getting,  and  films  are  waiting  for 
the  money. 


Film  production  is  not  a  hobby  for 
amateurs.  It  is  one  of  the  most  complicated 
of  all  the  arts.  It  is  overcrowded  with 
screen-struck  amateurs,  and  the  unwise  action 
of  the  Schenks  in  organising  a  film-star  com¬ 
petition  for  amateurs  shows  that  America  is 
no  whit  wiser  than  ourselves. 

If  our  artistes  are  to  be  employed  we  have 
got  to  get  the  money  to  employ  them,  and 
money  can  only  be  got  by  regaining  the 
confidence  of  the  public — the  confidence  that 
we  have  been  robbed  of  by  the  actions  of 
(he  sharks.  The  Kinema  Club,  in  accepting 
only  bona-fide  members  of  the  Trade,  showed 
that  the  need  was  recognised  of  taking  some 
means  of  securing  themselves  against  bogus 
film  people  of  all  sorts  and  against  those 
who  are  content  to  boast  but  cannot  show 
any  good  work  done.  To  the  doors  of  such 
people  must  be  laid  the  direct  blame  for  the 
hard  times  through  which  the  Trade  is  pass¬ 
ing,  and  the  actual  and  unmerited  sufferings 
of  some  of  our  most  competent  artistes. 


by  CHRISTABEL  LOWNDES-YATES 

One  of  the  greatest  difficulties  with  which 
the  film  Trade  has  to  content  at  present 
is  that  the  activities  of  a  small  number 
of  rascals  in  the  business  are  apt  to 
prejudice  both  the  serious  investor  and 
the  general  public  against  the  pictures. 

/  kUITE  recently  a  man  came  down  to  a 
village  in  the  country  and  told  a  few 
likely  people  about  a  little  private  company 
he  was  floating  for  the  production  of  a  good 
type  of  film  play.  He  sketched  out  quite  a 
sound  business  proposition,  gave  the  name 
anti  address  of  the  studios  he  had  “secured,” 
and  mentioned  several  people  well  known  to 
the  Trade  who  were  co-operating  with  him, 
and  even  the  name  of  the  solicitor  of  the 
company.  His  references — though  not  inves¬ 
tigated — appeared  excellent,  and  adroit 

'•  stage-management  ”  of  the  whole  business 
secured  money  being  invested  in  his  “com¬ 
pany.”  That  was  about  as  far  as  the  whole 
thing  went.  When  he  was  arrested  and  sent 
to  prison  it  was  found  during  the  trial  that 
it  was  by  no  means  the  first  experiment  of 
the  kind  he  had  made. 

That  is  no  isolated  instance.  Two  further 
cases  of  the  same  kind  reached  me  within  a 
few  months.  In  the  one  case  the  company 
proposed  to  produce  six  full-length  super- 
films.  and  entered  into  negotiations  with 
various  well-known  people  to  carry  out  their 
work.  The  best  studios  available  were  to 
be  leased,  arid  the  services  of  first-class 
people  utilised  in  the  casting  and  production, 
and  big  salaries  were  offered  for  their  work. 
AH  went  merrily  for  a  little,  and  then  some¬ 
body  discovered  that  the  company  was  not 
registered,  and  it  appeared  that  this  was 
because  the  whole  assets  of  the  promoters 
amounted  to  less  than  twelve  pounds — the 
cost  of  registration  !  Yet  this  did  not  pre¬ 
vent  the  company  from  entering  into  negotia¬ 
tions  for  literally  thousands  of  pounds. 

The  second  prospectus  was  sent  me  through 
the  post,  and  was  more  amateur  still.  This 
company  was  to  run  entertainments  and  to 
rrpduce  its  own  films,  and  the  capital  re¬ 
quired  to  finance  its  undertaking  was  some¬ 
where  about  three  hundred  pounds.  The 
promoters  stated  that  most  of  the  money 
had  been  subscribed  ! 

Amazing  as  it  may  seem,  there  are  people 
among  the  general  public  who  consider  such 
companies  typical  of  film  finance.  Men  and 
women  who  have  lost  a  few  pounds  through 
such  schemes  are  afraid  to  touch  other  well- 
established  film  companies,  and  real  harm 
is  dealt  to  the  Trade.  I  believe  the  banks, 
too,  are  influenced  by  the  practices  of  these 
people. 

The  suggested  organisation  of  a  Film 
Artistes’  Section  of  the  Actors’  Association 
might  be  able  in  time  to  do  something  to 
deal  with  this  evil  in  the  same  way  that  the 
Actors’  Association  itself  has  put  a~stop  to 
the  nefarious  practices  of  bogus  theatrical 
managers,  by  insisting  on  reasonable  safe¬ 
guards. 

If  might  even  be  able  to  deal  with  another 
sme  of  the  Industry — ‘the  disastrous  practice 
that  has  arisen  of  taking  men  for  important 
posts  in  film  production  on  their  own  bare 
statements  of  their  capabilities,  without  any 
ether  guarantee  than  their  own  word  that 
they  are  efficient  to  do  the  work  they  seek. 

If  such  an  organisation  were  in  being  it 
would  be  impossible  (as  has  happened  on 
several  occasions  recently)  for  a  man  with¬ 
out  experience  to  pose  as  a  film  producer  and 
get  a  highly  paid  post  over  the  heads  of  com¬ 
petent  men,  and  after  having  taken  the 
picture  lose  money  for  the  firm  because  the 
work  was  the  work  of  an  incapable  amateur. 

(Continued  at  foot  of  second  column  ) 


6 


THE  MOTION  PICTURE  STUDIO 


l - : - 

December  16,  1922 

G  E  T  T  I  N  G  Where  they  are  and - 

INTO  U.S.A.  — — what  they  are  doing 


/COLONEL  A.  C.  BROMHEAD,  the  head 
of  Gaumont,  has  just  returned  from 
America,  where  he  has  been  investigating 
the  possibilities  for  British  films.  The  Bio¬ 
scope,  says  :  — 

“To  Col.  Bromhead’s  credit  it  has  to  be 
recorded  that  whilst  displaying  that  business 
acumen  that  has  made  him  such  a  power  in 
the  domain  of  filmdom  by  jealously  guard¬ 
ing  the  interests  of  his  firm  by  refraining 
from  making  any  announcement  of  his  ac¬ 
complishments  across  the  pond  until  the  time 
is  rip®  for  their  disclosure,  he  betrays  none 
of  that  oyster-like  closeness  in  regard  to 
points  likely  to  benefit  the  British  film  pro¬ 
ducing  end  of  the  business  that  is  so  often 
apparent  in  those  who  make  the  Trans- 
Atlantic  journey  in  search  of  information, 
and  we  are  consequently  able  to-day  to  give 
the  Trade  the  benefit  of  his  impressions. 

Asked  as  to  what  opinion  he  had  formed 
of  the  business  conditions  prevailing  in  the 
States,  Col.  Bromhead  emphatically  declared 
that,  they  were  practically  a  repetition  of 
present  conditions  at  home. 

“  After  the  summer  slump,”  said  Col. 
Bromhead,  “  the  American  trade  relied  upon 
big  business  in  the  autumn,  but  their  an¬ 
ticipations  have  not  materialised.  Exhibi¬ 
tors  are  not  doing  so  well  as  they  ought 
to  be,  and  producers,  are  finding  it  increas¬ 
ingly  difficult  to  gauge  the  public  taste. 
Nothing  hut  a  big  picture  will  draw  big 
business,  and  even  this  is  not  always  the 
case. 

“  American  program  pictures  are  dead  in 
the  country  of  their  origin.  American  pro¬ 
ducers  freely  admitted  that  it  was  im¬ 
possible  to  forecast  within  miles  the  probable 
success  of  a  picture,  even  if  built  up  on  a 
good  story,  played  with  a  known  cast  and 
regardless  of  expense.” 

Questioned  as  to  the  adherence  of  the 
American  public  to  pictures  as  a  form  of 
entertainment,  Col.  Bromhead  remarked : 
“The  picture  habit  over  there  is  now 
failing,  and  people  who  used  to  be  regular 
kinegoers  now  only  go  when  they  are  certain 
of  a  .really  first-class  entertainment.  They 
still  have  a  predilection  for  certain  players, 
and  the  presence  of  these  favourites  is  far 
greater  a  factor  towards  success  than  even 
the  story.  At  the  same  time,  even  the  most 
popular  stars  cannot  get  a  picture  over  that 
is  poor  in  entertainment  value,  in  which 
direction  public  demands  are  severe.” 

The  Bioscope,  asked  Col.  Bromhead  re¬ 
garding  the  opening  for  British  pictures  in 
the  States.  His  answer  was  as  sincere  as 
outspoken. 

“  The  opening  for  British  pictures  of  the 
right  kind,”  he  said,  “is  more  clearly  in¬ 
dicated  than  ever,  but  they  are,  of  course, 
subject  to  the  same  demands  as  are  made  on 
the  American  productions.  No  British  pic¬ 
ture  can  hope  to  achieve  success  unless  its 
producer  has  previouslv  studied  the 
American  requirements  on  the  spot,  and  then 
built  his  subject  up  on  the  lines  of  what 
the  public  over  there  want.” 

Paving  a,  tribute  to  the  cordial  reception 
aroordDd  him  during  his  stay  in  America, 
Col.  Bromhead  said  he  was  sure  that  a 
similar  reception  was  awaitin'*  British  pic¬ 
tures  if  they  represented  the  right  stuff. 

“  American  distribution  organisations  are 
run  by  keen  and  broadminded  business  men, 

(Continued  on  page  8. ) 


Joan  Morgan  appeared  in  the  pageant  at 
the  Ypres  Ball. 

Muriel  Violette  has  been  playing  for  Stoll 
in  “The  Sign  of  Four.” 

Bertie  White  has  been  playing  for 
Hollandia  in  “The  Hypocrites.” 

Malcolm  Tod  is  still  down  at  Torquay, 
but  expects  to  return  next  week. 

Margaret  Yarde  is  playing  for  B.  and  C. 
in  “Wonder  Women  of  the  World.” 

Gordon  Hopkirk  has  been  playing  for  B. 
and  C.  in  “Wonder  Women  of  the  World.” 

Gray  Murray  has  been  playing  in 
“Wonder  Women  of  tho  World,”  for  B. 
and  C. 


ARTHUR  WALCOTT. 


Arthur  Walcott  has  gone  to  Germany  with 
Dewhurst  Productions,  and  is  to  play  in 
“What  the  Butler  Saw”  and  “The  Un¬ 
invited  Guest.” 


Phyllis  Lytton  lias  been  cast  for  the  part 
of  Miss  Salmon  in  “This  Freedom,”  for 
Ideal. 

Joyce  Templeton  has  been  engaged  to  play 
the  part  of  Little  Madge  in  “The  Windmill 
Man,”  at  the  Victoria  Palace. 

Kuhama  Cotton  lias  been  appearing  as 
the  maid  to  Empress  Josephine  in  “A 
Royal  Divorce,  ”  for  Samuelson. 

Bertran  Terry  is  playing  an  important 
part  in  the  production  that  is  now  being 
made  by  Cecil  M.  Hepworth,  at  the  Walton 
Studios. 

Fred  Raines  has  been  appearing  in  the 
new  Hepworth  film  in  an  important  role, 
and  also  in  a  sketch  -at  the  Kennington 
Theatre. 

Fred  Raines  has  been  specially  engaged 
to  play  the  leading  role  as  Sir  Richard 
Tressider  and  Mr.  Mayard,  a  dual  role,  in 
“The  Lady  Trainer,”  for  Walter  West. 


Edwin  J.  Collins  is  directing  “Gems  of 
Literature,”  for  B.  and  C. 

George  Pearson  is  to  direct  “Nell 
Gwynne  ”  for  Welsh-Pearson. 

Edith  Bishop  has  now  finished  work  with 
Stoll  in  “The  Prodigal  Son.” 

J.  Stuart  Blackton  is  cutting  and  editing 
“Elizabeth,  the  Virgin  Queen.” 

Phil  Ross  is  going  to  Milan  to  photograph 
a  new  film  for  Richard  Garrick. 

William  Lugg  is  to  appear  in  “The 
Mistletoe  Bough,”  for  B.  and  C. 

Alicia  Ramsey  is  to  write  the  scenario  of 
“Nell  Gwynne,”  for  Welsh-Pearson. 

Edwin  Greenwood  is  directing  “Wonder 
Women  of  the  World,”  for  B.  and  C. 

Arthur  Kingston  is  filming  “Wonder 
Women  of  the  World,”  for  B.  and  C. 

M.  Gray  Murray  has  been  engaged  to  play 
in  “The  Taming  of  the  Shrew,”  for  B. 
and  C. 

Betty  Balfour  is  to  appear  as  Nell  Gwynne 
in  the  new  Welsh-Pearson  film  of  that 
name. 

Gertrude  Sterroll  has  been  appearing  as 
Mrs.  Wilmore  in  “The  Hypocrites,”  for 
Hollandia. 

Fred  Raines  has  been  appearing  as  the 
solicitor  in  “The  Mist  in  the  Valley,”  for 
Hepworth. 

Gray  Murray,  who  is  now  playing  for  B. 
and  C.,  is  one  of  the  members  of  the  old 
B.  and  C.  stock  company. 

Elliott  Stannard  is  writing  the  scenarios 
of  “Gems  of  Literature,”  and  “Wonder 
Women  of  the  World,”  for  B.  and  C. 

Eric  Albury  has  been  playing  at  the 
Strand  Theatre,  and  leaves  for  South.  Africa 
on  December  22,  for  African  Theatres. 

A.  Harding  Steerman  has  been  engaged  by 
George  Pearson  to  play  the  Musician  in 
bis  next  Welsh-Pearson  production. 

Fred  Raines  lias  been  engaged  by  Walter 
West  for  the  leading  character  part  in  his 
next  production — this  will  be  a  big  dual  role. 

Gladys  and  Sybil  Wheeler-Field,  the 
eighteen  year-old  twins,  have  been  appear¬ 
ing  in  Sinclair  Hill’s  new  Stoll  production, 
“Open  Country.” 

Albert  E.  Raynor,  having  concluded  his 
engagement  with  Denison  Clift  in  the  Ideal 
film,  “  This  Freedom,  ”  is  to  play  Lord 
Stranmore  in  “Shares,”  at  the  Kingsway, 
on  December  17. 


7 


THE  MOTION  PICTURE  STUDIO 


December  16,  1922 


GETTING  INTO 
U.S.A. 


THE  SCENARISTS’ 

BUREAU 


Lee  Douglas  (Thanet). — This  is  a  de¬ 
lightful  story  that  seems  to  the  Critics  well 
and  carefully  put  together.  1  he  characterisa¬ 
tion  is  clear  and  the  people  behave  like 
real  human  beings,  but — and  it  is  a  “but  ” 
that  must  be  taken  into  account — the  war  is 
over.  People’s  minds  do  not  want  to  be 
pulled  back  to  that  time,  and  though  your 
story  reads  like  a  bit  of  real  life,  I  do 
not  think  a  director  would  consider  it  on 
that  account.  The  war  plays  such  a  vital 
part  in  the  evolution  of  the  characters  that 
we  cannot  simply  suggest  your  altering  it 
so  that  the  war  scenes  come  out.  The 
scenario,  though  not  quite  in  the  proper 
form,  is  clear  and  excellently  done  within 
its  own  limits,  and  you  appear  to  have  a 
real  gift  for  grasping  the  essentials  of 
Screen  work.  Ii  should  be  worth  your  while 
to  study  film  technique  so  that  you  could 
give  future  stories  a  more  worthy  setting. 
Have  you  anything  else  you  could  submit 
to  this  Bureau? 

The  pages  of  your  script  are  not  put  in 
their  proper  order.  This  is  a  curious  mis¬ 
take  in  a  MS.  which  shows  the  immense 
care  and  labour  spent  on  it  that  yours  does. 
There  are  only  47  scenes  in  your  play.  In 
the  hands  of  an  experienced  scenarist  there 
would  be  far  more  than  this.  As  ;,t  stands 
it  would  only  make  a  very  short  film  play, 
but  you  have  included  many  scenes  in  one, 
which  should  really  be  separate  shots. 

Sailor  (Richmond). — This  is  one  of  the 
most  amazing  documents  that  has  ever  come 
into  the  hands  of  the  Critics.  The  story  is 
an  excellent  one  for  the  screen,  provided 
that  a  director  would  not  object  to  the  foreign 
scenery.  It  is  written,  in  the  first  place,  by 
an  author  who  evidently  knows  the  sea  well. 
It  is  full  of  action  and  adventure,  but  it 
has  been  written  up  in  scenario-  form  by 
someone  who,  the  author  states,  received  a 
large  sum  down  for  the  work,  and  produced 
from  a  first-class  story  one  of  the  most  un¬ 
saleable  films  imaginable.  There  are,  to 
begin  with,  only  101  scenes  in  what  is 
alleged  Jq  be  a  five-reel  play.  As  there  are 
hardly  any  sub-scenes  and  many  of  the 
main  scenes  are  flash  views  or  very  short 
shots,  the  Critics  do  not  think  it  would  make 
more  than  a  two-,  or  possibly  a  very  short 
three-reel  subject,  as  it  stands.  For  these  101 
scenes  the  “scenarist'3  requires  no  fewer  than 
25  studio  scenes  !  Fourteen  of  these  scenes 
are  only  used  once  each,  and  some  of  them 
•would  be  very  expensive  to  build  up.  There 
is  no  introduction  of  'the  characters  by 
name.  It  is  presumably  to  be  a  guessing 
match  on  the  part  of  the  audience  as  to 
who  the  unnamed  characters  are.  Many  of 
the  sub-titles  written  by  this  “expert”  are 
over  40  words  in  length,  and  one  at  least  is 
close  on  70  words  in  length.  Authors 
should  be  warned  against  people  who  pose 
as  experts  and  get  paid  in  advance  for  a 
short  adaptation  of  this  description,  which, 
as  it  stands,  in  spite  of  the  excellent  story, 
is  quite  unsaleable. 

Chemack  (Harlesden).— You  have  got  hold 
of  a  good  idea  for  a  story,  but  you  have  not 
worked  it  out  very  successfully.  You  want 
to  think  more  in  action  and  have  less 
“talk,”  for  film  play  writing.  In  one  of 
your  scenes  I  counted  15  sub-titles.  In 
writing  your  next  scenario  try  to  eliminate 


nearly  all  the  talk  and  explain  the  whole 
thing  by  what  your  characters  do  in  action. 
Your  synopsis  would  be  a  great  deal  easier 
to  read  if  the  lines  were  not  typed  so  close 
together,  and  your  script  would  not  be  easy 
for  a  director  to  hold  while  working.  Most 
directors  like  a  smaller  kind  of  paper.  We 
only  know  two  who  care  for  such  a  large 
MS.  as  this.  You  have  not  got  hold  of 
quite  the  right  form  in  which  to  write  your 
screen  plays,  but  you  have  got  quite  a  good 
idea  for  a  film  play,  and  there  is  no  reason 
why,  if  you  study  the  technique  of  film¬ 
writing  carefully,  you  should  not  produce  a 
good  play,  but  you  have  got  to  master  the 
technique  first. 

W.  Potts  (Southampton). — This  is  not  a 
bad  little  story  if  it  was  worked  out  differ¬ 
ently,  but,  of  course,  the  setting-out  is  not 
correct,  apart  from  the  fact  that  it  is  not 
typed.  It  would  be  as  well  to  omit  the 
first  scenes  entirely.  It  is  not  advisable  to 
show  the  heroine  as  a  little  child  loving 
her  dolls,  and  then  jump  twenty  years  to 
show  the  same  girl  seeking  happiness  in 
marriage  where  she  is  longing  for  little  ones 
to  take  the  place  of  the  dolls  she  used  to 
adore.  I  would  advise  that  the  story  began 
by  showing  the  heroine’s  great  love  for  little 
children  instead.  In  later  scenes  where  she 
is  married,  and  her  blind  husband  overhears 
an  unwanted  admirer  making  love  to  her, 
instead  of  the  man  runnmg  away  when  the 
husband  shows  himself  it  would  give  a 
chance  here  for  a  good  “situation”  for  a 
quarrel  to  take  place  between  the  two  men 
and  the  watching  servant  to  rush  forward 
and  defend  his  blind  master.  The  excite¬ 
ment  and  shock  would  have  the  desired 
effect,  and  the  husband  finding  that  the 
wife  is  true  to  him  brings  the  happiness 
desired.  The  title  of  the  play  is  unfortu¬ 
nate — it  suggests  monkeys  rather  than  arous¬ 
ing  the  train  of  thought  desired  ! 

4‘  THE  BIGAMIST  ” 

An  Explanation 

We  have  received  the  following  letter  from, 
Henry  I.  Sydney  and  Co.,  solicitors,  of 
Lower  Kennington  Lane  : — 

“  Our  client,  Mr.  Henry  Harris,  of  119, 
Clapham  Road,  S.W.,  has  consulted  us 
with  reference  to  announcements  that  have 
appeared  in  your  journal  suggesting  that 
a  certain  Mr.  Bert  Ford  was  the  person 
who  photographed  the  film  of  ‘  The 
Bigamist  ’  for  Messrs.  Clark  Productions, 
Ltd. 

“  Our  client  is  quite  prepared  to  accept 
your  assurance  that  you  published  these 
statements  in  good  faith  believing  them  to 
be  true,  but  naturally  their  publication 
has  done  considerable  harm  to  our  client, 
who  is  the  only  person  entitled  to  describe 
himself  as  the  photographer  of  ‘  The 
Bigamist.’  On  our  client’s  instructions 
we  communicated  with  Mr.  Ford,  and 
have  now  received  from  his  solicitors  an 
assurance  that  he  has  withdrawn  the 
advertisement  containing  these  statements, 
but  the  injury  having  already  been  done 
to  our  client,  we  must  ask  you  to  publish 
this  letter  in  order  to  correct  the  erroneous 
impression  already  conveyed.” 

The  above  is  printed  by  request,  but  we 
point  out  that  a  contradiction  of  the  original 
statement  of  which  Mr.  Harris  complains 
was  published  several  weeks  ago. 


( Continued  from  page  7.) 

ready  to  utilise  any  good  film,  British  or 
otherwise,  with  which  they  can  make 
money,”  he  added. 

“But,”  he  continued,  “they  wall  not 
touch  doubtful  propositions.  There  is 
nothing  strange  in  that  attitude,  however, 
for  it  is  common  to  British  renters  as  well. 
Prejudice  only  exists,  as  it  must  do-,  in  re¬ 
gard  to  poor  pictures  of  any  origin,  in¬ 
cluding  American.” 

“  It  is  true,”  went  on  the  subject  of  our 
interview,  “  that  America  has  not  yet  for¬ 
gotten  its  unfortunate  experience  with  some 
previous  British  pictures.  British  producers 
offering  films  there  to-day  must  take  with 
them  such  wares  as  will  overcome  the 
lamentable  impression  created  by  some 
deplorable  pictures  of  the  past.” 

Col.  Bromhead  would  not  deny  the  report 
that  he  had  effected  certain  important  affilia¬ 
tions  which  would  ensure  circulation  for 
“British  Screencraft  ”  and  “Westminster 
Films  ”  (Gaumo-nt.  British  productions) 
throughout  the  United  States.  His  only 
observation  on  the  subject  was  that  the 
time  was  not  yet  ripe  to  make  an  announce¬ 
ment  of  the  ’degree  of  importance  antici¬ 
pated.  Moreover,  his  immediate  attention  is 
being  devoted  to  working  out  the  details 
of  the  Gaumont  -Company’s  programme  of 
British  production,  and  it  is  probable  that 
an  exceptionally  important  announcement 
will  be  made  when  this  is  completed. 

The  Biosrnvr  adds  that,  the  importance  to 
British  exhibitors  of  Col.  Bromhead’s  busi¬ 
ness  trip  to  America  lies,  unless  we  are  very 
much  mistaken,  in  the  fact  that  probable 
obligations  in  America  will  necessitate  a 
much  more  ambitious  programme  than  has 
yet  been  attempted,  with  consequent  initial 
benefit  to  British  theatres  and  prestige  to 
British  production. 

IN  BERLIN 

Madge  Stuart  has  made  her  first  ac¬ 
quaintance  with  Berlin,  whither  she 
has  gone  to  play  the  leading*  parts  in 
“What  the  Butler  Saw  ”  and  “The 
Uninvited  Guest.”  The  films  are 
being  made  by  an  English  company 
in  the  Berlin  studios.  Madge  says  : 
“  Berlin  does  not  come  up  to  expecta¬ 
tions.  Everything  looks  very  dull  and 
sombre.  Streets  are  badly  lighted  and 
it  hasi  rained  solidly  ever  since  I  ar¬ 
rived.  The  great  compensation  is  the 
studio,  which  is  enormous,  and  the 
lighting  is  magnificent.  There  is  a 
theatre  strike  on,  so  all  the  places  of 
amusement  are  closed,  with  the  excep¬ 
tion  of  the  Opera  House.  So  England 
is  not  such  a  bad  place  alter  all.’ 

COME  RIGHT  IN  ! 

It  you  are  passing,  or  if  you  .want  to  ask 
a  question,  or  if  you  have  some  news,  or 
if  vcu  want  to  have  a  chat  over  the  busi¬ 
ness- -come  right  in!  We  are  anxious  to 
maintain  close  personal  touch  with  all  our 
readers.  \\‘e  are  putting  you  first  all  the 
time — you  and  your  interests  are  our  chief 
concern,  and  we  want  to  emphasise  that 
you  have  a  perfect  right  to  come  in  and 
regard  our  time  as  being  at  your  disposal. 
Come  light  in ! 


8 


December  16,  1922 


THE  MOTION  PICTURE  STUDIO 


OUR 

PARLIAMEN  T 

Mr.  Speaker, — In  the  “Cameramen’s 
Section”  last  week  your  leader  “What’s  in 
a  Name  ”  prompts  me  to  say  that  as  a 
“foreigner”  cameraman  since  1897  in  Eng¬ 
land  and  Colonies  I  have  not  yet  earned 
^'15  per  week,  though  I  carry  out  my  own 
mixing  of  all  baths,  developing,  toning,  etc. 
I  do  all  my  own  printing  of  Trade  show 
copies,  and  incidentally  get  excellent  reports 
in  The  Motion  Picture  Studio,  the  Kim. 
Weekly,  Bioscope  and  the  lay  press  re  photo¬ 
graphic  technique. 

But  after  the  copies  are  released  it  is 
heart-breaking  Lo  see  the  “quality  ”  we  get, 
although  I  always  enclose  with  the  negatives 
a  special  card,  on  which  I  write — as  a  help¬ 
ful  guide  for  the  Trade  printer — the  con¬ 
stituents  of  developing,  time  of  immersion  of 
film,  temperature  of  bath,  lamp  wattage, 
distance  .of  light  source  to  film,  speed  film 
travels  past  aperture,  proportions  of  dye  and 
nature  of  dye  (plus  maker’s  name  and  ad¬ 
dress)  to  quantity  of  water,  etc.  The  same 
applies  to  toning,  where  I  give  formula  used, 
time,  etc. 

Yet,  behold !  The  copy  shown  at  the 
picture  halls  is  a  living  disgrace  to  be 
connected  with  it  in  any  way.  Fortunately, 
some  theatres  cut  out  the  name  of  photo¬ 
grapher  ! 

I  know  all  cameramen  of  standing,  and 
few  have  ever  even  begrudged  working  with 
•a  “foreigner.”  It  is  so  un-English  in  spirit. 
But  British  firms  should  always  try  to  en¬ 
gage  Britishers,  before  going  in  for  fancy 
mimes. — Pro  Bono  Britannicus. 


think  a  compromise  between  theatrical 
and  studio  methods  could  be  arrived  at, 
which  would  greatly  help  the  kinema  play, 
but  for  the  time  being  I  will  confine  my¬ 
self  to  this  particular  ‘‘artificiality  ” 
which  Mr.  Hcpworth  declares  is  “impos¬ 
sible”  because  of  the  “  relentless  but 
truthful  and  keenest  of  observers,”  the 
camera  lens.  Why  should  he  say  “no 
make-up  is  possible,”  'when  to  do  without 
it  is  impossible  if  the  actor  is  to  create 
an  illusion — to  appear  to  be  someone  else? 
Imagine  “Sairey  Gamp  ”  in  appearance 
other  than  as  described  by  Dickens?  Try 
to  think  of  a  “  Monsieur  Rigaud  ”  whose 
moustache  didn’t  go  up  and  whose  nose 
didn’t  come  down,  or  a  “Caliban,”  a 
“  Quilp,”  a  “  Fal staff,”  a  “Micawber  ”  who 
didn’t  look  the  part?  I  believe  “  Othello  ” 
has  been  filmed.  Did  the  leading  actor 
use  no  make-up? 

Long  ago,  I  discovered,  in  making-up 
for  and  taking  my  own  character  photo¬ 
graphs  by  sunlight,  that  it  was  necessary 
to  modify  my  stage  method.  In  this  for 
film  plays  as  with  gesture  and  facial  ex¬ 
pression  it  is,  for  the  experienced  legiti¬ 
mate  actor,  simply  a  matter  of  adapting 
himself  to  either — but  far  from  being 
totally  different— conditions. 

I  believe  that  the  legitimate  and  kinema 
actor  would  gain  much  if  each  could  have 
the  double  experience.  The  legitimate 
actor  would  learn  restraint,  the  kinema 
actor  would  develop  initiative  and  re¬ 
source;  and  he  would  cease  to  be  so 
frequently  merely  photographical,  an 
attribute  which,  in  drama  of  any  descrip¬ 
tion,  does  not  always  help  the  illusion. 


STAGE-CRAFT  AND 
SCREEN  CRAFT 

ALBERT  CHEVALIER’S  VIEWS 


/  \  X  the  subject  discussed  last  week  In 
tne.se  pages — “  Stage  Graft  or  Screen 
Craft  ”■ — we  are  now*  able  to  give  the 
views  of  Albert  Chevalier,  who  says  : — 

“I  hold  that  there  is  very  little  differ¬ 
ence  between  acting  for  the  kinema  and 
acting  on  the  stage.  It  is  simply  a  ques¬ 
tion  of  adapting  oneself  to  fresh  conditions. 
The  function  of  the  camera  is  very  similar 
to  that  of  the  scenic  artist — the  method 
being  reversed  :  reduction  to  be  enlarged 
for  distant  view,  in  place  of  enlargement 
to  be  reduced  by  distant  view. 

Because  the  scenic  artist  has  to  exag¬ 
gerate  in  order  that  from  a  distance  his 
picture  may  appear  natural,  is  not  to  say 
he  could  not  paint  a  picture  which  would 
bear  looking  into.  No  scenic  artist  would 
dream  of  offering  to  the  uninitiated  a 
picture  painted  on  scene-dock  lines  to  be 
hung  in  a  drawing-room. 

“Because  an  actor  can,  and  must,  on 
the  stage,  broaden  his  gestures,  speak 
louder  and  with  greater  regard  for  dis¬ 
tinct  utterance,  it  does  not  follow  that  in 
a  room  he  cannot  avoid  doing  the  same, 
or  that  he  has  noi  appreciation  of  finesse. 
In  art,  breadth  and  style  is  no  fault. 
Unless  you  possess  strength  you  cannot 
suggest  it,  although  I  have  seen  this 
impossible  feat  attempted  with  the  inevit¬ 
able  nebulous  result. 


“It  is  easier  to  control  strength  than 
to  strengthen  weakness.  To  be  able  to 
exaggerate  does  not  necessarily  mean 
inability  to  modify,  to  paint  with  a  finer 
brush,  or — in  the  case  of  the  stage  actor- 
to  adapt  his  method  to  a  smaller  theatre.” 

Mr.  Hepworth,  however,  insists  upon  a 
difference  so  great  that  for  kinema  actors  : 

“No  make-up  is  possible,  for  make-up, 
like  every  artificiality,  would  be  im¬ 
mediately  discovered." 

(In  the  last  issue  of  The  Motion 
Picture  Studio  we  printed  Mr.  I  bp- 
worth  as  stating  :  “  Nor  do  1  let  my 
characters  make  up.  I  aim  at  making 
my  characters  as  natural  as  possible, 
and  I  maintain  that  the  human  face  can¬ 
not  portray  all  the  emotions  when  it  is 
.covered  up  with  grease  paint.  A  cover¬ 
ing  of  grease  paint  must  mask  the 
expression.  ” — Ed.) 

How  about  artificial  lighting?  Is  there 
a  single  kinema  studio  where  it  is  not 
used?  Are  there  no  “artificialities”  em¬ 
ployed?  Surely,  when  rehearsing  a  film 
play,  I  have  occasionally  seen  things 
strangely  resembling  stage  scenery  and 
properties. 

The  matter  of  lighting  is  one  which  1 
should  much  like  to  discuss,  because  1 

( Continued  at  foot  of  first  column.) 


EDMUND  GOULDING  ARRIVES 


Edmund  Goulding,  the •  famousTscenarist,  receives  a  civic  welcome  on  his  arrival 
at  Southampton. ^(From  left  to  right  :  Christopher  Goulding,  Iris  Goulding  <sister\ 
Edmund  Goulding,  Mrs.  Goulding  <mother>,  Frank  Zeitlin  <his  London  agent), 
the  Mayor  of  Southampton  and  Mr.  Hood  <C.E  A.) 


9 


THE  MOTION  PICTURE  STUDIO 


December  16,  1922 


COMPLETE  LIST  OF  ALL  THE  BRITISH  STUDIOS,  TOGETHER 
WITH  ADDRESSES,  TELEPHONE  NUMBERS, 


Adelqui  Millar  Productions. 

Address  :  1,  Leinster  Square,  W.2, 

Albert- Philli ps  Film  Production. 

Address  :  3,  Wardour  Street,  W.l. 
Phone  :  Regent  3282. 

Alliance  Film  Co. 

Studio  :  St.  Margaret’s,  Twicken¬ 
ham. 

Phone  :  Richmond  1945. 

Route  :  ’Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s.  Fare  : 
1st,  2s.  Of  .,  3rd,  Is.  O^d.  ;  R.T., 
1st  3s.  Id.,  3rd  2s.  Id. 

From  Waterloo  :  A.m.,  every 
10  minutes  ;  from  St.  Margaret’s 
every  10  minutes. 

Artistic  Films,  Ltd. 

Address  :  93-95,  Wardour  Street, 

W.  1. 

Phone  :  Gerrard  3210. 

Film  :  “  The  Monkey’s  Paw.” 
Director  :  Manning  Haynes. 
Scenarist  :  Lydia  Hayward. 
Cameraman  :  Frank  Grainger. 
Stage  :  Sixth  week. 

Atlas  Biocraft. 

Address  :  16,  Albemarle  St.,  W. 
Gen.  Manager:  Miles  Mander. 
Film  :  “  The  Man  without  Desire.” 
Director  :  Adrian  Brunei. 

Star  :  Ivor  Novello  and  Nina 
Vanna. 

Cameraman  :  Harry  Harris. 
Scenarist  :  Frank  Fowell. 

Stage  :  Ninth  week. 

Barkers. 

Address:  Ealing  Green,  London 
W.  5. 

Phone  :  Ealing  211  and  15$2. 
Route  :  District  or  C.L.R.  Tube  to 
Ealing  Broadway.  Piccadilly 
Tube,  change  at  Hammersmith. 
’Bus  Route  No.  17. 

Studio  Vacant. 

B  &  C.  Productions. 

Address  :  Hoe  St.,  Walthamstow. 
Phone  :  Walthamstow  364  and  712. 

Route  :  ’Bus  38.  Tram  81  to 
Bakers’  Arms.  G.E.R.,  Liver¬ 
pool  Street  to  Hoe  Street. 
Fare :  1st  Is.  2d.,  2nd  10^-d.,  j 
3rd  7d.  R.T.,  1st  Is.  9d.,  2nd 

Is.  4d.,  3rd  lOld. 

From  L.S.  :  A.m.  7.58,  then  ; 
everv  few  minutes  until  p.m.,  I 
9.5,  9.20,  9.35,  9.50,  10.5,  10.20, 

10.35,  10.50,  11.5,  11.20,  11.35, 

11.50,  12.5,  12.35  midnight. 

Hoe  Street  to  L.S.  :  A.m.,  7.53, 

8.2,  8.8,  then  every  few  minutes  ; 
p.m.,  8.20,  8.35,  8.50,  9.6,  9.20, 

9.35,  9.49,  10.6,  10.20,  10.36, 

10.50,  11.6,  11.20,  11.35,  12.2. 
Film  :  “  Wonder  Women  of  the 

World.” 

Type  :  One  reelers. 

Director  :  Edwin  Greenwood. 
Cameraman  :  A.  Kingston. 

Stage  :  One  a  fortnight. 


I  Baron  Films. 

Address  :  95,  St.  Martin’s  Lane, 
W.C.2 

Beehive  Production. 

Film  :  Comedies. 

Production  Manager  :  Geoffrey 
Benstead. 

Director  :  George  Dewhurst 

Assistant  Director  :  Horace 

Corbyn. 

Scenarist  :  Percy  Manton. 

Stars  :  Jimmy  Reardon  and  Mar¬ 
garet  Hope. 

Cameraman  :  G.  Pauli. 

Stage  :  Scheduled. 

British  Famous  Films. 

Address  :  “  Woodlands,”  High 

Road,  Whetstone. 

Phone  :  Finchley  1297. 

Studio  Vacant. 

British  and  Oriental. 

Address  :  B.  P.  Studios,  Thornton 
House,  Thornton  Road,  Clapliam 
Park. 

Phone  :  Streatham  2652. 

Studio  Vacant. 

British  Fhotoplays 

Address  :  Devon  Chambers,  28, 
Fleet  Street,  Torquay. 

Not  Working. 

British  Productions. 

Address  :  Selborne  Road,  Hove. 

Film  :  Historial  Subjects. 

Director  :  Lieut.  Daring. 

Cameraman  :  Bert  Ford. 


British  Super  Films. 

Address  :  Worton  Hall,  Islcworth. 
Phone  :  Hounslow  212. 

Route  :  ’Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth. 
Fare  :  1st  Is.  Old.,  3rd  9d.  ; 
R.T..  1st  Is.  9d.,  3rd  Is.  6d.  ; 

а. m.,'  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 
past  each  hour  until  11.51  p.m. 
Extra  trains,  4.43,  5.13,  5.43, 

б. 13,  6.43,  7.13. 

Isleworth  to  Waterloo :  8.33, 
8.44,  9.3,  9.14,  9.33,  9.44,  10.14, 
10.44  Same  minutes  past  every 
hour  until  10.44,  11.14  p.m. 
Extra  trains  5.30,  6.0,  6.30. 

Capta  n  Kettle  Films. 

Studios  :  Weir  House,  Broom 

Road,  Teddington. 

Daisy  Productions. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson 

Address  :  Lea  Bridge  Road,  E.  10. 
Phone  :  Walthamstow  634. 

Route  :  ‘Bus  Nos.  35  and  38. 
Trams  81,  55,  57. 

G.E.R.  from  Liverpool  Street 
to  Lea  Bridge  Road.  Fares : 
1st  Is.  2d.,  2nd  10Jd.,  3rd  7d. 
R.T.,  1st  Is.  9d.,  2nd  Is.  4d., 
3rd  10|d.  A.m.,  10.34 ;  p.m., 

1.50,  3.5,  4.37,  6.27,  8.5. 


Lea  Bridge  to  Liverpool  Street : 
A.m.,  8.26  ;  p.m.,  1.4,  5.27,  5.54, 
6.29,  7.7,  8.4,  8.57,  10.4. 

Dewhurst  Productions. 

Film  :  "■  What  the  Butler  Saw.” 
Director  :  George  Dewhurst. 

Star  :  Stewart  Rome. 

Cameraman  :  G.  Pauli. 

Stage  :  Second  week. 

Film:  “The  Uninvited  Guest.” 
Director  :  George  Dewhurst. 
Star  :  Stewart  Rome. 

Cameraman  :  G.  Pauli. 

Stage  :  Second  week. 

F  P.-Lasky. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
and  then  tram  No.  11. 

Studio  being  used  by  Grahame 
Cutts. 

Gaumont. 

Studio  :  L:me  Grove,  Shepherd’s 
Bush,  W.l 2. 

Phone  :  Hammersmith  2090-1-2. 
Route  :  ’Bus  Nos.  12,  17,  and  train 
y  from  Shepherd’s  Bush  Station 

Film:  “  Bonnie  Prince  Charlie.” 
Stage  :  Scheduled. 

Clan  Film  Productions. 

Address  :  20,  Lisle  Street,  W.C. 
Studio  :  “  Belgrave,”  Marine 

Terrace,  Aberystwyth. 

Not  working. 

“  Gems  of  Art  ”  Film  Co.,  Ltd. 

Address  :  1,  Bear  Street  (opposite 
Daly’s  Theatre). 

Films  :  “  Gems  of  Art.” 

Director  :  Norman  Macdonald. 
Cameraman  :  E.  Groc. 

Stage  :  Casting. 

George  uiark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Phone  :  Museum  3012. 

Film  :  “  The  Starlit  Garden.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Cameraman  :  H.  A.  Rendall. 

Stage  :  First  week 

Crahame  Wilcox  Productions. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  ’Bus  38a,  to  North  Road, 
then  tram  No.  1 1. 

Film  :  Not  announced. 

Director  :  Grahame  Cutts. 
Stage  :  Starting  shortly. 

Cranger-Bmger. 

Address  :  191,  Wardour  St.,  W.  1. 
Phone:  Gerrard  1081  and  1728. 
Studios:  Haarlem,  Holland. 

Film  :  “  The  Hypocrites.” 

Stage  :  Seventh  week. 

Granville  Productions. 

Address:  61,  Berners  Street,  W.L 
Phone  :  Museum,  2528. 

Film  :  “  Hennessey  of  Moresby.” 
Stage  :  Starting  shortly. 

Hardy. 

Address:  13,  Gerrard  St.,  W.l. 


WE  CAN  DELIVER  FROM  STOCK 

The  Columbia  12  in.  by  J  in-  Silver-tipped 
Cart  or  s  for  Wohl  and  other  Studio  Lamps. 

Recommended  by  Wohl  s  as  the  only  suitable  Carbon 
for  their  Lamps. 

UNITED  KINGDOM  PHOTOPLAYS,  Ltd 

29a,  CHARING  CROSS  ROAD,  W.C  2. 

’Phene  :  Gerrard  8742. 


AGENCE  DEBRIE,  LONDON. 

Kirematograph  Studio  &  Factory  Apparatus. 


(6 


’Phone 


DEBRIE 


99 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W.  i 


10 


December  16,  1922 


THE  MOTION  PICTURE  STUDIO 


FULL  PARTICULARS  OF  CURRENT  PRODUCTIONS,  ROUTES 
AND  FARES  FOR  REACHING  THE  STUDIOS 


Harma  Clarendon. 

Address:  16,  Limes  Road,  Croydon 
Phone:  Croydon 921  and 2084. 

Hepworth  Picture  Plays. 


Address  :  Walton-on-Thames. 
Phone  :  Walton  16. 

Route  :  From  Waterloo.  Fare : 
1st  4s.  lljd.,  3rd  2s.  6d.  ;  R.T., 
1st  7s.,  3rd  4s.  4£d. 

From  Waterloo :  A.m.,  7.0, 

8.0,  9.20,  10.20,  11.20;  p.m., 

12.20,  1.20.  2.20,  3.20,  4.20,  4.54, 
5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  8.20,  8.55,  9.20,  10.20, 
11.34. 

From  Walton  :  A.m.  7.59,  8.29, 
8.41.,  8.56,  9.9,  9.46,  10.10,  11.10. 
p.m.,  12.10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44,  6.10.  7.10,  8.10,  9.10, 

10.10,  10.35,  11.34. 

Productions  scheduled  but  not 

announced. 

ideal 

Address  :  Boreham  Woods,  Elstree, 
Herts. 

Phone  :  Elstree  52. 

Route  :  Trains  from  St.  Pancras. 
Fare  :  1st  2s.  lid.,  3rd  Is.  9Jd.  ; 
R.T.,  double  fare.  A.m.,  7.30, 
8.0,  8.50,  9.55,  10.45,  11.48; 
p.m.,  12.33,  1.13,  2.35,  3.55,  4.45, 
5.12,  6.2,  6.45,  6.50,  7.20,  8.8 
9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras  : 
9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.3,  3.56,  4.56,  5.29.  6.18,  6.55, 
7.36,  8.54,  10.14,  11.3. 

Studio  Manager  :  F.  A.  Kendrick. 
Art  Director:  J.  T.  Garside. 


Film  :  “  This  Freedom.” 
Director  :  Denison  Clift, 
Star  :  Fay  Compton. 
Scenarist  :  Denison  Clift. 
Stage  :  Seventh  week. 


Film:  “The  Hawk.” 

Director  :  Frank  Crane. 
Star  :  Chas.  Hutchison. 
Stage  :  Fourth  week. 


Film  :  “  Out  to  Win.” 
Director  :  Denison  Clift. 

Stage  :  Scheduled. 

Film  :  “  Mary  Queen  of  Scots.” 
Director  :  Denison  Clift. 

Stage  :  Scheduled. 


International  Artists. 

Address:  52,  Shaftesbury  Av.W.  I ' 

Phone  :  6338. 

Film  :  “  God’s  Prodigal.” 

Star  :  Donald  Crisp. 

Cameraman  :  C.  McDowell. 

Isle  of  Man  Films. 

Address  :  The  Manx  Studios, 
Isle  of  Man. 

Not  working. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington. 

Phone  :  Kingston  1617. 

Route  :  From  Waterloo  to  Tedding¬ 
ton.  Fare :  1st  2s.  7^.,  3rd 
Is.  4d.  ;  R.T.,  1st  4s.  4|d.,  3rd 
2s.  8d.  From  Waterloo,  a.m., 
7.55.  Then  trains  every  few 
minutes  until  11.55  p.m.  From 
Teddington,  a.m.,  7.51.  Then 
trains  everv  few  minutes  until 
11.1,  11.16,11.51  p.m.  ’Bus  27. 

Minerva  Films. 

Address  :  110,  Victoria  St.,  S.W.l. 

Phone  :  Victoria  7545. 

Not  working. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 

Phone  :  Shoreham  19. 

Quality  Films. 

Studio  :  Windsor  Studios,  Catford. 

Phone  :  Lee  Green  948. 

Film  :  One  reelers. 

Director  :  George  A.  Cooper. 

Stars  :  Sydney  Folker  and  Joan 
McLean. 

Studio  Manager:  S.  Folker 

Cameraman  :  R.  Terreaneau. 

Stage  :  One  a  week. 

Raleigh  King  Productions. 

Address  :  Watcombe  Hall,  Tor' 
quay. 

Studio:  Vacant. 

Regulus  Films. 

Address  :  48,  Carnaby  Street’ 

Regent  Street,  W.l. 

Not  working. 

Samuelson  Film  Co. 

Address  :  Worton  Hall,  Isleworth. 

Film  :  “  A  Royal  Divorce.” 

Director  :  G.  B.  Samuelson. 


;  Star  :  Gwilym  Evans. 

Stage  :  Third  week. 

Seal  Productions. 

Address  :  171,  Wardour  Street. 

Phone  :  Regent  4329. 
i  Not  working. 

Screenplays. 

Address  :  Cranmer  Court,  Clapham 
Phone  :  Brixton  2956. 

Route  :  ’Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll. 

Address  :  Temple  Road,  Crickle* 
wood 

Phone  :  Willesden  3293. 

Route  :  ’Bus  No.  16. 

Studio  Manager  :  J.  Grossman. 
Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart 
Rome  and  Edith  Bishop. 
Cameraman  :  D.  P.  Cooper. 
Stage  :  Twentieth  week. 

Film  :  “  Top  of  the  World.” 
Director  :  Maurice  Elvev. 

Stage  :  Scheduled. 


Film  :  “  Open  Country.” 

Director  :  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  David 
Hawthorne 

Cameraman  :  A1  Moise. 

Stage  :  Completed. 


Film  :  “  Sherlock  Holmes.” 
Director  :  George  Ridgwell. 
Star  :  Eille  Norwood. 
Cameraman  :  A1  Moise. 
Stage  :  Starting  shortly. 


Film  :  “  The  Sign  of  Four.” 
Director  :  Maurice  Elvey. 
Star  :  Eille  Norwood. 
Camerman  :  Jack  Cox. 
Stage  :  Sixth  week. 


Film:  “  The  Wandering  Jew.” 
Star  :  Matheson  Lang. 

Stage  :  Scheduled. 

Film  :  “  Guy  Fawkes.” 

Director  :  Maurice  Elvey. 

Stage  :  Scheduled. 

J.  Stuart  Blackton. 

Address  :  Bush  House,  Alawych. 
i  Phone  :  Central  1935. 

Film  :  “  The  Virgin  Queen.” 

Director  :  J.  Stuart  Blackton 
Star  :  Lady  Diana  Manners. 


Cameraman:  Nicholas  Musurca 
Stage  :  Cutting  and  assembling. 

Torquay  &  Paignton  Photoplays 

Address  :  Public  Hall,  Paignton 
Not  working. 

Union  Films. 

Address  :  Strand  Street,  Liverpool 
Phone  :  Central  (Liverpool)  325 
Not  working. 

Walker  Boyd  Sunshine  Produc¬ 
tions. 

Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. 

Address  :  Princes  Studios,  Kew 
Bridge, 

Phone  :  Chiswick  574. 

Route  :  ’Bus  Nos.  27,  105. 

Broad  Street  to  Kew.  Fare  : 
1st  Is.  4d.,  3rd  9d.,  RT.,  1st 
2s.  OJd.,  3rd  Is.  4d.  A.m.,  8.2, 

8.20,  8.45,  9.0,  9.47,  10.17,  10  47, 

11.17,  11.47;  p.m.,  12.17,  12.47, 

1.17,  1.47,  2.17,  2.47,  3.17,  3.47, 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40, 
6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 
8.47,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street  : 
A.m.,  9.40,  10.8,  10.38,  11.8, 
11.38;  p.m.,  12.8,  12.38,  1.8. 

1.38,  2.8,  2.38,  3.8,  3.38,  4.8,  1.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20, 

6.38,  7.8,  7.38,  8.8,  8.38,  9.8,  9.38, 
Film  :  “  The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Florence  Turner,  Kathleen 
Vaughan,  Norah  Swinburne,  Fred 
Wright,  and  James  Knight. 
Stage  :  Cutting  and  assembling. 

Film  :  Not  announced. 

Stage  :  Starting. 

Welsh  Pearson. 

Address  :  41-45,  Craven  Park, 
Harlesden,  N.W.  10. 

Phone  :  Willesden  2S62. 

Route:  ’Bus  No.  18. 

Film:  “  The  Romany.” 

Star  :  Victor  McLaglen, 

Director  :  Martin  Thornton. 
Cameraman  :  Percy  Strong. 

Stage  :  Completed. 

Film  :  “  Nell  Gwrynne.” 

Stage  Casting. 

Zodiac. 

Studio  :  Kingsbury  Studios 
Film  :  Walter  For  le  Comedy 
Stage  :  Scheduled. 


rsgsnt  5233  Qu&l  i  ty  &  Servi  C  e  WaIdOIR.  ST 

100%  FILM  100% 

amfcoIo.wndou  Developers& Prin  tiers  LOwROH- 


ii 


THE  MOTION  PICTURE  STUDIO 


December  16,  1922 


THESE  ARE  HARD  LINES 

BUT  there  are  harder  lines  even 
than  these  that  surround  this 
page.  The  lines  of  many  a  film 
worker  have  not  fallen  in  pleasant 
places.  And  to-day  they  are  in 
desperate  straits.  This  fact  alone 
is  enough  to  prompt  those  who 
are  sympathetic — and  practical  in 
their  sympathy — to  do  all  that  is 
possible  to  meet  the  needs  of  the 
hour.  That  is  one  of  the  reasons 
that  prompted  us  to  reduce  the 
price  of  the  studio  worker’s  own 
professional  journal. 


Enclosed  is  half-a-crown m 
Put  me  on  your  mailing  list 
for  13  weeks. 

Name  . . . 

Address  . 


(New  Subscription  Rates: — 13 Weeks,  2/6, 

Six  Months,  5/-;  One  Year,  10/- post  free.) 

93,  LONG  ACRE,  LONDON,  W.C.2 

Printed  and  Published  bv  ODHAMS  PRESS  Ltd.,  Long  Acre,  December  16,  1922. 


ml  Just  a  twist 
of  the  wrist 


and  you’ll  tear  this  corner 
of  the  page  off  —  sign 
it  and  post  at  once. 


J 


THE  MOTION  PICTURE  STUDIO 


December  23,  1922 


ARTISTES 


»  .  t 


THELMA 

MURRAY 

Character  &  Emotional  parts 
Leads  for  Stoll,  Masters, 
Raleigh  King,  B.  &  C.,  etc. 
All  corns  :  “LYNDALE.” 
OAKLEY  RD.. 
WHYTELEAFE,  SURREY, 
or  to  the  Kinema  Club. 


NOEL  GRAHAME 

Heavy  Character  &  Comedy. 
Heavy  lead  :  “  Bladvs  of  the 
Stewponev,”  “Cost  of  a  Kiss,” 
“  Britain's  Naval  Secret,”  etc. 
11,  Clanricarde  Gardens, 

Hyde  Park,  W.2. 
Park  4514. 
and  Kinema  Club. 

Photo  bv  Havana. 


FLORENCE  INGRAM 


SEE 

90a,  LEXHAM  GARDENS. 

KENSINGTON,  W.8 

PAGE 

West  4519. 

British  Super  Productions, 

13 

Davidson  ;  Beacon  Films, 
Daisy  Productions,  “Mrs. 
Stanton”  second  lead  in 

“Gypsy  Blood.” 

MARY  ODETTE 

Just  concluded  :  “The  Lion’s 
Mouse”  and  “The  Hypo¬ 
crites.’’ 

Latest  Releases  : 

“Wonderful  Year,’ 

“All  Roads  Lead  to  Calvary.” 
All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury, Av.,  W.i 
Regent  4329. 

gjpv  *  |B 
Em.  ifll 

lb  JU 

GORDON  BEGG 

Dramatic — Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.  11, 

Telephone  :  Battersea  21. 

Leads— Ideal:  ‘Sybil,’  ‘Ernest 
Maltravers  ’  Direct:  ‘Four 
Men  in  a  Van.’  Masters  :‘Fra 
Diavolo,”  Bride  of  Lammer- 
moor,’  ‘Faust,’  ‘Maritana,' 
‘Jane  Shore.’  ‘Stella’: 
P.  &  B.  ‘Settled  in  Full.’ 
B. &  C. :  ‘The  Oueen’s  Secret.’ 
Artistic:  ‘The  Skipper’s 

Wooing  ’  Address ; 

School  House,  Tower  Str  eet, 
W.C. 2..  orKinema  Club. 


MELINDA  LLOYD 

Alliance,  The  Councillor’s 
Wife  in  “The  Card,”  Ideal, 
Samuelson,  Granville  Pro¬ 
ductions,  Laskys,  etc. 

24,  PARK  VIEW, 
WELLING,  KENT. 


GEORGE  KEENE 

Star  Lead.  Disengaged. 
Featuring — “  Black  Sheep,” 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters,’’ 

“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 
Address : 

121b,  Church  St.,  Croydon 
’Phone  :  Croydon  835. 


Rosina  Wright. 

“Sister  Ursula”  in  “  Per- 
petua  Mary’(Famous-Lasky) 
The  Nurse”  to  “The  Grass 
Orphan”  (Ideal  Film). 
“Phillipa”  in  “Open  Country” 
(Stoll  Film). 

I*1  8  years  Film  experience. 

8a,  GOLDERS  WAY, 
GOLDERS  GREEN, N.W.ll 
or  Kinema  Club. 


F  C  R  E  M  L  I  N  . 

Montem  Road,  F'orest  Hill,  S.E.23,  or  Kinema  Club 


ARTISTES 

DOUGLAS  WEBSTER 

Juvenile  Character  Leads, 
btage  Experience. 

Just  completed  “  Leroy 
Lindsay”  in  “Shifting  Sands’’ 
(Granville  Productions). 

All  corns. :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av. 
'Phone  :  Regent  4329. 


ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 
Character  Parts,  “  Mrs.  Gatty,’’  in  “Christie 
Johnstone  ’’  (Broadvvest),  “  Margaret  Howe’’ 
in  “  Beside  the  Bonny  Brier  Bush  ’’  ( Lasky), 
“Nanny”  in  “  Tell  your  Children’’  (Interna¬ 
tional)  “Anna  ”  in  “  The  Prodigal  Son  ”  (Stoll). 

55.  Campden  St.,  Kensington.  W.8. 

Tel.  :  Park  3623. 


HUGH  MILLER 


6,  MILLMAN  ST., 
W.C.l. 


Telephone  : 
Gerrard  4432 


ARTHUR  PUSEY 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagoon”  for  I.V.T.A. 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 


PAIGE, 


CH A  RACTER 
ACTOR. 

INVITES  GOOD  OFFER.  Plus  or  minus  all  or 
any  portion  of  NATURE’S  Beard  and  Moustache. 
Beard,  etc.,  NOW  in  the  rough. 

Stoll,  Blackton,  Fox,  The  Windsor,  etc. 
VARIED  STAGE  EXPERIENCE. 
Address  :  See  “Who’s  Where.’ 

’Phone:  Streatham  264. 

CHARLES  LEVEY 

£ s  Captain  Gething  in  the  Artistic  Production, 
“  The  Skipper’s  Wooing.” 

At  present  playing  “  Earl  Paget”  in  the  J.  Stuart 

Blackton  Production  “The  Virgin  Queen.” 

* 

15,  STOKENCHURCH  ST.’,  FULHAM,  S.W  .6 


M  I  LTON  ROSMER 

INVITES  OFFERS. 

16,  Weymouth  Street,  W.i.  'Phone  :  Langham  2243 


MRS.  HUBERT  WILLIS, 

Character  and  Emotional  Parts. 

29,  St.  Peter’s  Square,  W.6.  ’Phone:  Hammersmith  85, 
or  Kinema  Club.  Regent  2131. 


MARIE  AULT, 

Character  and  Comedy. 

235,  King's  Road,  Chelsea. 


WARREN  HASTINGS, 

5,  POND  PLACE, 

CHELSEA,  S.W. 3. 
INVITES  OFFERS. 

COSTUMIER  .  . 

Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W, 

’Phone;  Gerrard  612. 


SCENARISTS  , 


GERALD  DE  BEAUREPAIRE. 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 

K  I  N  C  H  E  N  WOOD" 

Late  Wm.  Fox  Studios,  Los  Angeles. 

7,  Wymering  Mansions,  Maida  Vale,  W.9 


JOHN  SALTER 


Established 
1896. 

CAMERAS,  PROJECTORS, 

LOCAL  TOPICALS, 

13,  Featherstone  Buildings,  Holborn,  W.C.l. 
’Phone — Chancery  7408. 

CAMERAMEN.  .  .  . 

ALFRED  H.  MOSES. 

PREMIER  CAMERAMAN— 

:  SCIENTIFIC  OUTFIT.  : 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  Street,  W.C. 2. 

’Phone — Regent  2131. 


L.  G.  E  G  R  O  T 

EXPERT  CAMERAMAN. 

“The  Better  ’Ole,”  etc.,  etc., . 

. “  The  Wonderful  Story.” 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W. 2. 

’Phone  :  Streatham  3085. 


PUBLICITY 


“Let  Me  Handle  Your  Account.” 

JOHN  CORNYN 

Advertising  ::  Publicity 

231,  BYRNE  BLDG.,  Los  Angeles, 
Cal.,  U.S.A. 

To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
- SUPPLIED - 

From  your  own  Photo,  in  best  glossy  style  : — 


One  position,  per  gross  -  -  - 

Two  positions,  Half  gross  of  each 

Single  dozen . - 

Enlargements,  each  - 


17/6 

30/- 

3/6 

10/6 


Samples  can  be  seen  at 
THE  PICTURE  SALON, 
88,  Long  Acre,  W.C.  2. 


Young  Certified  Engineer  of  good 
family  with  International  University 
Education,  desires  post  as  Pupil- 
Cinematographer  with  good  Com¬ 
pany,  so  as  to  prepare  for  Scientific 
Research  Work,  etc.  Communica¬ 
tions,  stating  fee  charged,  etc.,  to— 

Box  C, 

“  MOTION  PICTURE  STUDIO,” 
93,  Long  Acre,  W.C.2. 


2 


December  23,  1922 


rHE  MOTION  PICTURE  STUDIO 


The  Vade  Mecum  of 

the  Film  Business: — 

THE 

KINE 

YEAR 

BOOK 

1923  Issue  ready  shortly. 


ORDER  NOW. 


PRICE  FIVE  SHILLINGS . 


LEICHNERS 

WORLD 
RENOWNED 


tcint 


&E1U4W 


Obtainable  from  all  Chemists 
and  Theatrical  Costumiers. 
Price  8d.  per  stick. 

If  any  difficulty  in  obtaining 
same  apply  direct  to 

Sole  British  Agents : 

VANITIES  LTD., 
15a,  Whitcomb  St. 

(Off  Leicester  Sq.), 

W.C.2 


GREASE 
PAINTS 

&  POWDERS 


WHO’S  WHERE. 


Several  directors  have  explained  to  us 
tlie  difficulty  they  have  of  getting  quickly 
into  touch  with  artistes  and  others  whom 
they  need  for  their  productions,  and  have 
suggested  that  we  publish  addresses  and 
telephone  numbers  of  such. 


“  QpHE  most  useful  column,  to  my  mind, 
and  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  is  ‘Who's 
Where.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.” 

CHALLIS  N.  SANDERSON. 

11  T  PERSONALLY  would  like  to  see 
more  artistes  using  vour  space  under 
the  heading  of  ‘  Who’s  Where-’  ” 

H.  B.  PARKINSON. 

“  'T’HE  column  which  is  of  most  service 
to  us,  and  which  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  ” 
NORMAN  WALKER  (Capt.),  Alliance  Films. 


ATWOOD,  ALBAN :  25,  Stanley  Crescent, 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.11.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercorn  Place,  N.W. 
Hampstead  3U83 . 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John's 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS  :  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.  1.  Mayfair  2344. 

CAREW,  JAMES,  15,  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3904 

CHESNEY,  ELIZABETH  :  c/o  Miss  Morris, 
25,  Clevedon  Gardens,  W.2.  (Flat  4). 
Padd.  5844. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
Redcliffe  Gardens,  SAV.  10.  ’Phone: 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.11.  Park  2077. 

ESMOND,  ANNIE :  43,  Richmond  Road, 
Westbourne  Grove,  W.2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

FANE,  DOROTHY :  12A,  Sloane  Gate 

Mansions,  S.W.i.  Victoria  5225. 

GRACE,  ADELAIDE,  103,  Morshead 
Mansions,  Maida  Vale,  W.  9. 

GRAFTON,  GEORGE  :  289,  Scott  Ellis 
Gardens.  St.  John’s  Wood,  N.W. 
Paddington  6928. 

GREGORY,  FRANK,  Character,  107,  St, 
Alban’s  Avenue,  W.4. 

HARRIS,  GEORGE,  33,  Torrington  Square, 
W.C.l. 

HOPE,  MARGARET,  Character  and  Juvenile 
Leads.  Late  Ideal,  Masters,  Stolls,  etc., 
etc.,  5,  Balcombe  Street,  Dorset  Square, 
N.W. 1.  Padd.  2284. 

HOWARD,  LIONELLE  :  108,  Alderbrook 
Road,  Balham,  S.W.I 2. 

JONES,  T.  ARTHUR:  “High  Tor,” 
Summer  Road,  Hampton  Court. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  2131. 


LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977. 

NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting  S.W.  Streatham  264. 

PAXTON,  SYDNEY  :  28,  Bedford  Place, 
Russell  Square,  W.C.  Museum,  7235. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell,  S.E.5. 

RAYNER,  MINNIE  :  Kingwater  Cottage, 
Church  Walk,  Thames  Ditton. 

RAYNOR,  ALBERT  E.,  “  Strathmore,” 
Spencer  Road,  Chiswick,  W.4. 

ROME,  STEWART:  10,  Chisholme  Road, 
Richmond,  Surrey. 

SEARLE  DONALD:  32.  Lauderdale  Mans., 
Maida  Vale.  Maida  Vale  2177. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  15,  Grove 
Mansions,  North  Side,  Clapham  Com¬ 
mon  12.  Latchmere  4343. 

STEERMAN  A.  HARDING:  56  Portland 
Road,  W.11.  Park  2529. 

STERROLL,  GERTRUDE:  14,  Queen’s 
Road,  St.  John’s  Wood,  N.W. 8. 

TEMPLETON,  BEATRIX:  20,  Foxglove 
Street,  Wormholt  Estate,  W.12. 

THATCHER,  GEORGE:  33,  Denbigh 
Street,  Belgrave  Road,  S.W.  Victoria 
2060. 

TOD  MALCOLM,  The  Kinema  Club,  9, 
Gt.  Newport  St.,  W.C.2. 

TREE,  MADGE  :  15,  Lancaster  Court,  New¬ 
man  St.,  W.i.  Museum  7241. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 
2131. 

WALCOTT,  ARTHUR  :  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  2131. 

WILLIS,  HUBERT,  Mrs.,  29,  St.  Peter’s 
Square,  W.6.  Hammersmith  85. 

YORK,  CECIL  MORTON  :  Kinema  Club, 
9,  Great  Newport  Street.  Regent  2131. 

Two  lines,  12s.  6d.  per  thirteen  insertions, 
or  £ 2  5s-  f°r  a  year>  prepaid. 

Extra  lines,  is.  per  insertion. 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 
‘‘THE  YELLOW  CLAW,” 

‘‘THE  NIGHT  HAWK,” 

“  M’LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.I, 

’Phone :  Regent  4747. 
or  Kinema  Club,  Regent  2131. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 

NOW  BACK  IN  LONDON. 


3 


THE  MOTION  PICTURE  STUDIO 


December  23,  1922 


Just  concluded  leading  part 
in  Tom  Terriss  Production 

“HARBOUR  LIGHTS.” 

’Phone  :  Hampstead  -3846. 


4 


December  23,  1922 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices 
93,  Long  Acre, 


Time’s  Revelations. 

f\NE  of  the  disconcerting  discoveries 
that  “  Annuals  ”  cause  is  that  time 
seems  a  very  fleeting  factor  of  life.  “  How 
time  flies!  ”  is  not  merely  a  platitudinous 
statement,  but  also  a  truism.  It  certainly 
seems  less  than  365  days  ago  since  we  last 
brought  out  a  Christmas  issue.  And  yet 
it  is  so.  A  whole  year — a  seventieth  part 
of  a  man’s  life — has  taken  to  itself  wings 
and  flown.  This  is  the  realisation  that  is 
forced  on  one.  And  with  it  comes  the 
recognition  of  another  and  auxiliary  fact ; 
that  very  little  has  been  done  in  that  period. 
Time  is  the  standard  by  which  the  value  of 
all  things  is  determined  ;  in  the  light  of 
Time  we  see  that  very  little  has  been 
accomplished  during  the  past  year.  There 
is  a  sense  in  which  the  year  that  has  passed 
has  been  practically  wasted ;  looked  at 
from  a  professional,  social  or  spiritual 
angle,  1922  has  been  a  considerable  failure 

for  most  in  the  film  profession. 

*  *  * 

Disappointments. 

YY7HAT  is  there  to  show  for  the  use  of 
the  last  365  days  ;  those  days  that 
were  loaned  us  for  use,  not  for  flippancy 
and  frivolity ;  those  days  which,  unless 
they  can  show  a  profit  must  show  a  loss  ? 
And  all  the  evidences  point  to  the  latter 
rather  than  the  former.  We,  with  this 
journal,  were  in  the  vanguard  of  cheery 
prophets  a  year  ago  ;  our  prediction  was 
that  1922  was  going  to  be  a  year  of  promise 
and  fulfilment.  We  frankly  admit  that  the 
mantle  of  Elijah  has  not  fallen  on  our 
shoulders.  1922  has  been  a  year  of  dis¬ 
appointment  and  disillusionment.  And 
there  is  no  more  tragic  or  pathetic  figure  in 
the  world  than  the  disillusioned  man. 
Since  last  Christmas  there  has  been  an  im¬ 
poverishment  of  opportunity  ;  an  absence 
of  endeavour  ;  a  record  of  defeated  effort, 
thwarted  desires,  unfulfilled  ambitions, 
unachieved  ideals.  That  is,  according  to 
our  reading  of  the  past,  the  melancholy 
story  of  1922. 

*  *  * 

Where  Failure  Is. 

TT  is  only  the  Big  Man  who  can  admit  his 
mistake.  We  admit  our  errors  of 
prophecy.  It  is  only  the  Biggest  Man  who 
can  twist  his  errors  of  the  past  into  instru¬ 
ments  for  achievement  in  the  future.  We 
invite  the  whole  profession  to  rank  among 
the  Biggest  Men.  Let  us  probe  deep  down 
into  the  fundamentals  (this,  like  all  surgical 
operations,  will  be  painful)  and  discover  for 
ourselves  where  we  have  failed  and  why  we 
have  failed. 


The  Spirit  of  Christmas. 

'T’HERE  are  numerous  subsidiary 
reasons,  but  we  feel  that  the  fount- 
spring  of  human  failure  in  all  phases  of 
human  endeavour  is  the  past  inability  to 
translate  into  terms  of  everyday  practice 
the  spirit  and  principles  of  Christmas.  We 
write  these  lines  on  a  Sunday  afternoon  ; 
on  the  roof  of  London — the  Hampstead 
district — the  strains  of  the  carollers  come 
to  our  ears  from  the  Heath,  and  lend 
point  to  the  view  we  are  now  taking  of  the 
events  of  the  past  year.  Crystallised,  this 
view  is  that  the  failures  of  the  past  are  due 
to  attempting  to  barter  the  spiritual  values 
of  work  and  life  for  material  tokens  ;  we 
have  failed  to  interpret  Christmas  aright. 

To  all  our  Readers 
and  Advertisers  the 
Editor  sends  greetings, 
and  wishes  for  them  all 
the  Lest  that  Christmas 
means  in  their  work 
and  lives. 

May  Peace  and  Good¬ 
will  lead  to  Prosperity 
and  Success  for  all 
in  the  film  profession 
during  1923. 

And  in  proportion  as  we  perpetuate  the 
spirit  and  principles  of  Christmas  will  we 
make  1923  more  successful  than  its  pre¬ 
decessor. 

Spiritual  Values. 

HPHIS  means,  to  our  mind,  two  essen- 
^  tials  :  spirituality  and  fraternity. 
In  the  market  of  materialism  spiritual 
values  are  discounted  ;  and  it  will  be  found 
that  wherever  the  finer  issues  of  life  are 
denied  free  development — where  the  sordid¬ 
ness  of  mercenary  motives  and  the  cruel 
callousness  of  Selfishness  and  Self-seeking 
are  allowed  to  dominate — where  grasping 
and  grafting,  commercial  murder  and 
commercial  fratricide  comprise  the  code  of 
ethics — where  “  the  weakest  to  the  wall  ” 
and  “  devil  take  the  hindmost  ”  are  the 
two  genets  in  the  creed — we  say,  where  the 
tin-god  materialism  is  enthroned  there  is 
always  ultimate  failure  and  a  wretched 
sense  of  futility  even  in  the  hour  of  ap¬ 
parent  victory.  Contrast  this  with  the 
attitude  and  atmosphere  of  moral  finesse. 
The  man  with  the  Dignity  of  the  Divine 
who,  conscious  within  him  of  a  mystic 
power  of  spiritual  discrimination,  will 


Telegrams — 
Southernwood, 
Rand,  London. 
Telephone — 
Gerrard  9870. 

Dec.  23,  1922 


eschew  the  mean  and  the  paltry  (no  matter 
how  immediately  “  paying  ”  such  may 
appear)  and  refuses  to  bow  the  knee  to 
Mammon  or  Baal  ;  who  maintains  his  own 
moral  integrity  and  refuses  to  be  intimi¬ 
dated  either  by  the  enticements  to  duplicity 
or  the  allurements  of  “  get-nch-quickness  ’ 
— that  man  sets  the  seal  on  his  own  ultimate 
success.  For  after  all  Success  is  not  of  the 
external,  but  is  recorded  within — it  is  not 
an  effect,  it  is  a  mental  attitude.  The 
most  “  successful  ”  men  are  often  the  most 
hideous  failures  when  judged  by  the 
standards  of  spirituality  rather  than 
materialism. 

5ft 

Fraternity. 

A  ND,  we  said,  the  other  evidence  of 
Christmastide  is  the  spirit  of 
fraternity.  This  may  seem  more  im¬ 
portant  to  some  non-ideahstic  minds  than 
spirituality,  but  we  say  that  fraternity  is 
always  an  outcome  of  spirituality  for  the 
very  simple  reason  that  it  is  only  the 
spiritual-minded  man — the  man  with  re¬ 
fined  moral  fibre,  that  is — who  can  ap¬ 
preciate  and  practise  the  fraternal  spirit. 
This  fraternal  spirit  is  the  “  outward  and 
visible  sign  of  the  inward  and  spiritual 
grace.”  And  it  is  the  absence  of  the  latter 
that  explains  the  equal  absence  of  the 
former.  This  fraternal  spirit  means  a 
smoothing  away  of  the  rough  odd  corners  ; 
the  levelling  of  inequalities  ;  the  removal 
of  injustices.  The  fraternal  spirit  means 
peace  and  good  will.  It  means  self-abnega¬ 
tion  ;  self-denial  ;  self-disinterestedness — 
a  readiness  for  co-operation,  a  willingness 
for  service.  Then  will  come  the  one  for 
all  ;  all  for  one  ;  each  for  each  ’  system  of 
society  and  work  that  alone  spells  Success 

in  the  best  sense  of  that  word. 

*  *  * 

Loftier  Views. 

T  OOKING  back  over  what  we  have 
^  written  we  expect  we  shall  be 
accused  of  moralising  instead  of  sub¬ 
mitting  a  “  leading  article.  We  want  to 
moralise  ;  but  such  moralising  is  a  lead¬ 
ing  article,”  for  we  feel  that  what  is  wanted 
are  ”  leading  articles  that  really  will  lead 
to  all  that  is  best  and  highest.  During  the 
eighteen  months  that  we  have  occupied  the 
editorial  chair  we  have  attempted  to  give 
true  guidance — to  lead  our  readers  to  all 
that  is  highest  and  best ;  it  is  in  the  firm 
belief  that  the  great  film  profession  needs 
to  take  loftier,  nobler  views  of  its  functions 
that  we  have  written  as  we  have  written  to¬ 
day.  We  invoke  the  True  Spirit  of 
Christmas  to  the  aid  of  the  film  profession. 


5 


THE  MOTION  PICTURE  STUDIO 


December  23,  1922 


COMBINED  EFFORT 

by  EDWARD  D.  ROBERTS 


J E  are  constantly  reminded  that  there 
is  a  lamentable  dearth  of  really 
good  screen  material  ;  so  much  in  fact, 
that  many  of  our  American  friends  have 
found  themselves  confronted  by  a  very 
formidable  barrier. 

The  question  then  arises  :  Has  every 
nov‘el  of  importance  and  suitability  been 
filmed  ?  A  short  while  ago,  a  well-known 
lay  Press  critic  prophesied  that,  at  the 
present  rate  of  consumption,  both  here 
and  in  America,  all  novels  suitable  for 
screen  adaptation  will  be  exhausted  within 
a  year  or  so ;  and  that  if  advance  is  not 
made  with  original  stories,  directors  will 
be  faced  with  the  gravest  problem  which 
has  so  far  confronted  the  Industry.  This 
may  or  may  not  be  true ;  but  for  my 
opinion  I  am  content  to  predict  that  the 
era  of  the  orignal  story  is  at  hand. 

Without  doubt  the  kinema  has  attracted 
a  good  number  of  well-known  fiction- 
writers  and  playwrights  ;  but  for  the  most, 

1  am  inclined  to  believe,  it  has  been  little 
more  than  a  commercial  attraction. 
Hitherto  the  novelist  has  been  content  to 
dispose  of  his  film  rights  through  an  agent 
for  the  highest  prices  obtainable,  and 
allowed  his  interest  to  rest  at  that. 
Seldom  has  he  met  a  director,  and  more 
often  than  not,  has  considered  it  wise  not 
even  to  view  his  adaptations.  Can  you 


blame  him?  Certainly,  directors  have 
never  been  keen  with  their  invitations  to 
the  studios. 

While  upon  the  subject  of  the  author 
and  his  relation  to  the  director,  it  might 
prove  useful  to  examine  yet  another  point 
in  connection  with  these  two  gentlemen-- 
the  case  of  the  picturegoer,  who  matters 
more  than  is  generally  supposed. 

Let  us  take  the  successful  novel.  It 
is  read  and  discussed  widely.  Little 
wonder,  then,  that  thousands  eagerly 
flock  to  see  the  film  adaptation.  Exhibitors 
watch  their  glowing  faces  of  expectancy, 
and  listen  with  evident  relish  to  the 
musical  sounds  that  emanate  from  their 
pay-boxes. 

However,  after  the  show  they  are 
puzzled.  As  their  patrons  leave  they 
observe  that  their  enthusiasm  is  damped, 
and  now  their  faces  only  bear  looks  of 
disappointment. 

Why?  Because,  somehow,  the  pic¬ 
ture  did  not  tell  the  story  like  the 
novelist,  and  the  characters  seemed 
different.  Naturally,  the  reader  visual¬ 
ises  his  conception  of  a  character  in  his 
mind — his  imagination  helped,  no  doubt, 
bv  the  dialogue  and  descriptive  passages. 

“Blame  the  scenarist!  ”  I  hear  you 
exclaim.  Your  judgment  is  unfair.  I 
am  inclined  to  pity  him.  Usually — if 

not  always — he  does  his  best  to  portray 
the  characters  faithfully  and  to  keep  to 


the  original  story.  However,  he  cannot 
make  them  speak  ;  neither  can  he  obtain 
gold  from  metal — if  the  story  is  bad,  and 
possibly,  as  so  often  is  the  case,  totally 
unsuitable  for  screen  adaptation-  If  the 
scenarist  fails  in  his  task,  often  it  is  the 
fault  of  the  director,  who,  with  the 
eternal  problem  of  finance  staring  him  in 
the  face,  will  probably  instruct  him  to 
omit  the  biggest  incident  in  the  book 
because  of  its  expense.  Again,  I  say,  pity 
the  scenarist — and  the  picturegoer. 

Directors  should — and  must,  because  it 
will  soon  become  inevitable — encourage 
authors,  known  and  unknown,  to  write 
direct  for  the  screen,  by  inviting  them  to 
their  studios  to  study  every  angle  of  pro¬ 
duction  and  scenario  writing.  Neither 
should  they  leave  their  encouragement  at 
that.  Every  director  should  collaborate 
with  his  author,  on  the  script,  during 
casting,  actual  production,  cutting  and 
editing.  The  finest  motion  picture  plays 
will  never  be  written  and  produced  until 
these  methods  are  properly  employed,  A 
director  should  find  nothing  more  valu¬ 
able  than  the  close  co-operation  and 
understanding  with  the  creator  of  the 
characters  he  attempts  to  portray. 

I  am  shortly  going  to  direct  in  colla¬ 
boration  with  authors,  and  I  confess  that 
I  am  looking  forward  to  this  experience 
with  pleasureable  anticipation  and  assur¬ 
ance,  Having  worked  with  them  on  the 
scripts  of  my  initial  productions  I  can 
vouch  for  the  complete  harmony  and  ease 
with  which  the  scenarios  have  been 
written.  Mutual  satisfaction  has  been 
established  on  a  sound  respect  for  each 
other’s  attainments. 


HUGH  MILLER 


The  Prologue 
to 

THE  FOUR 
HORSEMEN 
OF  THE 
APOCALYPSE 

and  in 

Quality  Films. 


Booked  by 

THE 

SCREEN  &  STAGE  BOOKING  OFFICES, 
66,  Shaftesbury  Avenue,  W.  1. 

Telephone:  REGENT  3499. 


4$?: 

DON’T 

FAIL 

TO 

ORDER 

YOUR 

KINE 

YEAR 

BOOK 

NOW 


Ready  in  • 
the  New  Year. 


JOHN  STUART 

1922  PRODUCTIONS:— 

“LITTLE  MOTHER”  (Ideal). 

‘ ‘  SPORTING  DOUBLE  ”  (Davidson). 

“IF  FOUR  WALLS  TOLD” 

(Brit.  Super) 

Sir  Henry  Novell  in 
“THE  MISTLETOE  BOUGH”  (B&C) 
Hugh  Occleve  in 
“THIS  FREEDOM”  (Ideal) 

33,  ACACIA  ROAD, 

ST.  JOHN’S  WOOD,  N.W-8. 

Telephone:  HAMP,  2263. 


6 


December  23,  1922 


THE  MOTION  PICTURE  STUDIO 


Intimalie  Studio  Q os  sip 


I  obtained  one  of  the  best  chuckles 
of  the  year  on  Tuesday  at  the 
meeting-  of  the  election  committee  at 
the  Club.  When  the  little  pink  beans 
(for  balloting  purposes)  were  handed 
round,  Will  Kelllino — paying  his  first 
visit  to  the  committee — thought  that 
they  were  throat  lozenges,  and  popped 
one  into  his  mouth  ! 

.Met  John  Stuart  last  week,  and  was 
interested  to  learn  that  he  is  now 
being  kept  busy.  He  has  just  com¬ 
pleted  playing  Sir  Henry  Novell  in 
“  The  Mistletoe  Bough,”  opposite 
flora  Le  Breton,  of  B.  and  C.  (Edwin 
J.  Collins  directing),  and  is  still  play¬ 
ing"  Hugh  Occleve  in  “This  Freedom  ” 
for  Ideal. 

The  first  batch  of  British  film  workers 
are  back  from  Germany.  I  had  a 
chat  with  Miles  Mander,  the  general 
manager  of  Atlas-Biocraft,  and  Chris 
Walker,  who  has  been  playing  for 
that  company  in  the  new  Adrian 
Brunei  production,  in  which  Ivor 
Novello  is  the  leading  man.  From 
what  I  can  gather  there  seem  to-  be 
advantages  and  disadvantages  in 
filming  in  Germany,  but  the  former, 
owing  to  the  rate  of  exchange,  out¬ 
weighs  the  latter. 

Those  who  have  seen  “The  Virgin 
Queen  ”  declare  that  it  represents 
the  best  work  done  by  Mr.  Blackton 
in  his  experience  of  over  a  quarter  of 
a  century  of  film  producing.  The 
picture  is  done  partly  in  Prizma 
natural  colours,  and  a  new  tinting  and 
toning  process  achieves  many  unusual 
and  beautiful  effects.  To  everyone  in¬ 
terested  in  the  history  and  traditions 
of  the  British  Empire  this  picture  will 
be  especially  interesting,  for  the  story 
treats  the  most  vital  period  in  English 
history — those  years  that  inaugurated 
the  big  national  achievements  of 
Elizabeth’s  reign  which  created  the 
Empire.  The  drama  is  rich  in 
romance,  dramatic  interest  and  period 
.atmosphere,  with  which  goes  a  wealth 
of  historical  association  that  will  add 
immensely  to  the  value  of  the  film. 

AH  backgrounds  in  this  picture  are 
genuinely  of  the  period,  and  a  number 
of  historical  places  that  figure  in  the 
story  were  photographed  just  as  they 
stood  in  Elizabeth’s  dav.  The  cos- 

J 

fumes,  designed  by  Mrs.  Blackton 


after  exhaustive  research,  are  the 
most  elaborate  ever  made  for  any 
stage  or  screen  production,  and  were 
made  in  the  lavish  manner  character¬ 
istic  of  Elizabeth’s  taste,  regardless 
of  the  expense  to  the  producer.  Lady 
Diana  Manners  as  Queen  Elizabeth 
wears  fourteen  gowns  which  are  so 
magnificent  that  there  is  soon  to  be  a 
public  exhibition  of  them.  Lady 
Diana  gives  a  remarkable  interpreta¬ 
tion  of  the  Great  Queen — a  charac¬ 
terisation  based  on  much  study.  She 
reveals  marked  progress  in  her  art  as 
a  dramatic  artiste.  Other  members  of 
the  remarkable  cast  are  Carlyle 
Blackwell,  the  American  star,  as  Lord 
Robert  Dudley;  Norma  Whalley, 
Hubert  Carter,  William  Luff,  Misses 
Marian  and  Violet  Virginia  Blackton, 

WHERE  &  HOW 

They  will  spend 
their  Christmas 

Victor  McLaglen. 

At  home  with  his  baby,  for  whom  he  will 
disguise  himself  as  Santa  Claus. 

Fred  Wright. 

With  his  family,  enjoying  the  Christmas 
fare  which  he  has  helped  to  bring  from  the 
shops. 

A.  Bromley  Davenport. 

Spending  a  Rome-ing  Christmas  with  the 
George  Clark  Company  m  Rome. 

Hugh  E.  Wright. 

Looking  at  the  wonderful  decorations  which 
he  has  arranged  in  his  country  house,  and 
thinking  that  the  big  turkey  which  has 
chased  him  across  the  stable  yard  on  more 
than  one  occasion  rightly  deserved  to  die! 
Wyndham  Standing. 

In  London — his  first  Christmas  in  this 
country  for  many  moons,  and  one  which  he 
is  determined  to  enjoy. 

Valia. 

Not  sitting  in  the  front  of  the  English  fire 
as  she  anticipated,  but  experiencing  her  first 
Italian  Christmas  in  Rome. 

Madge  Stuart. 

Rejoicing  at  the  fact  that  she  will  probably 
be  ivor king  before  the  camera  on  Christmas 
Day,  but  with  a  regret  that  it  is  in  Berlin, 
and  not  London. 

Catherine  Calvert. 

Spending  her  first  real  English  Christmas 
m  London — a  Christmas  in  which  her  son 
will  share.  Santa  Claus,  a  Christmas  tree 
and  wonderful  toys  will  make  their  appear - 
dnce  on  Christmas  morning  at  her  flat. 

Molly  Wright. 

Rejoicing  at  home  over  the  wonderful 
things  that  have  happened  to  her  in  a  year — • 
last  Christmas  was  the  first  Christmas  when 
she  did  not  have  to  think  of  returning  to 
school. 


daughters  of  the  producer;  and  A.  B. 

I  meson. 

A  kinema  ball  and  carnival  at  Stoke- 
on-Trent  last  Wednesday  week 
was  quite  the  most  interesting  occa¬ 
sion  for  some  time  in  that  community. 
The  entertainment  was  promoted  by 
the  North  Stafford  branch  of  the  C.E.iA. 
and  attracted  many  hundreds  of  kine- 
magoers  in  that  section.  A  large  num¬ 
ber  of  well-known  film  artistes  were 
present.  Victor  McLaglen  and  Fred 
Wright  walked  from  London  to  Stoke- 
on-Trent  for  the  carnival,  and  ap¬ 
peared  as  living"  advertisements  of  the 
J  Stuart  Blackton  production,  “  The 
Glorious  Adventure,”  in  which  they 
played  leading"  parts.  There  were 
contestants  for  the  prizes  to  be 
awarded  the  most  attractive  costumes 
from  current  films.  The  highest  point 
of  interest  was  reached  with  the  en¬ 
trance  of  Queen  Elizabeth,  her  secre¬ 
tary  of  State,  Sir  William  Cecil,  and 
her  favourite,  Lord  Robert  Dudley, 
from  the  J.  Stuart  Blackton  production, 
“The  Virgin  Queen.”  The  magnifi¬ 
cent  coronation  costumes  of  the  Queen 
aroused  much  admiration,  and  the  rich 
raiment  of  the  two  Elizabethan  cour¬ 
tiers  also  attracted  interest. 


Relieving  there  is  to  be  a  great  and 
increasing  demand  for  two-reel 
dramas  produced  on  feature  lines, 
Edward  D.  Roberts,  during  the  forth¬ 
coming  year,  will  abandon  comedy 
work  and  turn  his  attention  to  this 
class  of  subject.  Associated  with  him 
in  his  new  enterprise  will  be  F. 
Rupert  and  Frank  C.  Crew,  the  well- 
known  fiction  writers'.  Production 
will  commence  during  the  spring  of 
next  year,  and  plans  are  now  under 
way.  Work  has  already  been  com¬ 
menced  on  the  scenarios,  and  the 
script  of  their  initial  effort  is  com¬ 
pleted.  It  is  a  fine,  dramatic  story, 
entitled  “Rays  of  Warning,”  and  its 
exteriors  will  be  taken  in  a  little  fish¬ 
ing  village  on  the  rugged  coast  of 
Cornwall.  The  film  will  feature  two 
big  stars,  and  it  is  interesting  to  note 
that  a  well-known  firm  of  renters  has 
already  interested  itself  in  these  sub- 


J  jects. 

y Vjuz&jyv- 


7 


THE  MOTION  PICTURE  STUDIO 


December  23,  1922 


Wishing  JEvergone  B  flfterrg  Xmas 

ROY  CALVERT. 

LATEST  PICTURES: 

“HIMS-ANCIENT 
AND  MODERN" 
(Albert  Phillips) 
(Juv.  Lead). 

“A  VIRGIN 

QUEEN  ” 
(Stuart-Blackton). 
1  — 1 

OPEN  TO 
ENGAGEMENTS. 
Juvenile  Lead 
Assist.  Producer 
Art  Director. 

All  Corns.; 

28,  Endsleigh 
Gardens,  N.W.  1, 

or 

c/o  Frank  Zeitlin, 
28-32,  Shaftesbury 
Avenue. 


ARTHUR  CLEAVE. 


LATEST  FILMS. 

“  Bert  ”  in 

“  The  Better  ’Ole.” 

“  Amos  Bolton  ”  in 
“  Lady  Clare.” 

“  Mr,  Giveen  ”  in 
“  Garryowen,” 

“  Dick  Lane  ”  in 
“  Nothing  Else 

Matters.” 

“  Arthur  Brew  ”  in 
“  Mary  Find  the 

Gold.” 

“  Warlock  Combs  ”  in 
“  The  Bachelor’s 

Club.” 

“Winkle”  in 

“Adventures  of  Mr. 

Pickwick.” 

“  Joe  ”  in 

“A  Master  of  Craft,” 

Mr,  Shillitor  ”  in 
“The  Card.” 


Address  : — 

7,  King  Street,  St.  James’s,  S.W.l. 

’Phone; — Gerrard  2109. 


8 


THE  MOTION  PICTURE  STUDIO 


December  23,  1922 


SOME  XMAS  RECOLLECTIONS 


Stuart  tfiSlackton 

JT^ECEMBER  25,  1922,  will  mark  the 
twenty-sixth  Christmas  in  my  film 
experience. 

•  I  think  all  my  Yuletide  memories  are 
happy  ones,  but  perhaps  the  most  pleasant 
Christmas  recollection,  in  its  connection 
with  the  film  Industry,  was  the  Christ¬ 
mas  party  in  the  Vitagraph  Studio  in 
America,  about  ten  years  ago.  The  Vita- 
graph  staff  at  that  time  numbered  about 
five  hundred  i'n  all.  It  was  our  custom; 
to  distribute  Christmas  turkeys  to  all  the 
employees,  in  addition  to  the  other  re¬ 
membrances  and  cash  bonuses.  I  remem¬ 
ber,  on  this  particular  Christmas,  the 
cash  bonuses  amounted  to  over  $13,000, 
and  were  graded  according  to  merit  and 
long  service.  Truly,  those  were  the  good 
old  days.  Albert  Smith  and  I  stood  be¬ 
hind  a  long  table  in  Studio  No.  4,  and 
handed  out  the  presents  and  the  turkeys 
with  a  handshake  and  a  Christmas  greet¬ 
ing  to  every  employee. 

No  work  was  done  on  Christmas  Eve, 
except  clearing  out  the  big  studio  and 
decorating  it  for  the  dinner  and  the  enter¬ 
tainment  and  dance  that  followed.  The 
famous  Vitagraph  stock  company  included 
a  great  array  of  talent  from  every  branch 
of  the  theatrical  and  musical  profession. 
The  entertainment  consisted  of  short, 
original  plays,  Shakespearean  recitals, 
songs,  quartettes,  vaudeville  numbers  and1 
acrobatic  turns. 

Some  of  the  performers' on  that  Christ¬ 
mas  night  have  passed  beyond  the  worldly 
joys  and  tribulations  of  film  production  ; 
others  are  great  stars  or  leaders  in  the 
various  branches  of  the  Industry.  To  my 
memory  come  such  names  as  Charles 
Kent,  William  Shea,  Florence  Turner, 
Mary  Maurice,  Mr.  and  Mrs.  Sidney  (Drew, 
Norma  and  Constance  Talmadge,  Maurice 
Costello,  Anita  Stewart,  Marshall  P. 
Wilder  and  scores  of  others,  on  a  program 
such  as  no  theatre  has  ever  been  able  to 
offer  to  the  public- 

Then  the  chairs  were  cleared  away,  the 
orchestra  tuned  up  and  the  Vitagraph 
family  made  merry  until  Christmas  Eve 
became  Christmas  morning,  when  we  all 
went  home  with  our  hearts  filled  with 
a  truly  Dickensian  “  Spirit  of  Christ¬ 
mas  ”  and  “  good  will  towards  all  men.” 

<3.  Ifort  rfBuckle 

J’m  afraid  my  happiest  recollection  of 
Christmas  is  that  it  only  comes  but 
o^ice  a  year.  Personally,  I  loathe  the 
season  ! 

/Ifturtel  XlUegtte 

’J'he  happiest  Christmas  I’ve  spent  was 
the  Christmas  of  1900,  when  I  was 
playing  O  Mimosa  San,  and  other  leads 
for  the  Dallas  Opera  Co.  in  India  and 
the  Far  East. 

We  were  at  Calcutta.  The  day  dawned 


with  the  usual  good  wishes  and  presents 
exchanged  by  members  of  the  company 
and  friends.  A  happy  morning  under  the 
blue  and  gold  canopy  of  an  Eastern  sky 
with  the  delightful  attendance  of  Indian 
servants  and  punka-wallahs  as  we  finished 
our  delicious  fruit  after  breakfast. 

Then,  after  service  at  the  Cathedral,  I 
went  on  to'  the  stately  Maidan  to  enjoy  a 
cricket  match  played  by  merchants  and 
bankers  against  army  officers.  The  cricket 
ground  was  crowded  by  European  men 
and  women  in  the  solar  topees  and  snow- 
white  apparel. 

Half-way  through  the  match,  the 
veteran  actor  of  the  company,  dear  old 
Dad  Farrell,  brought  us  our  letters  from 
home,  and  into  my  lap  he  tossed  23 — - 
the  first  one  I  opened  was  from  pretty 
little  Adrienne  Augarde. 

To  wind  up  the  happy  day  we  had  a 
good  old  English  Christmas  dinner — with 
roast  beef  and  plum-pudding — at  the  lead- 


WHAT  I’D  LIKE 

by  <3tbson  <3owlanfc 

My  ideal  Christmas  would  be  to  have 
a  home  for  my  six-year-old  boy,  Peter, 
and  myself,  which  we  have  not  had  for 
nearly  five  years,  so  that  I  could  try  to 
give  him  the  happiness  I  had  at  his  age. 

WHAT  I  DO 

by  Walter  West 

J  look  forward  to.  Christmas  as  bringing 
an  extra  Sunday  to  the  week,  and  it 
is  on  this  day  that,  seated  carefully  out 
of  earshot  of  telephone,  I  write  down 
all  my  ideas  for  new  films  that  I  have 
entrusted  to.  my  memory  for  the  past  six 
months,  and  have  not  had  time  to  put  into 
writing.  I  cannot  say  that  these  inspira¬ 
tions  continue  long  after  lunch-time — for 
if  the  guests  in  the  house  are  of  the 
“understanding”  sort,  I  usually  steal 
quietly  away  and  snooze,  an  after-lunch 
habit  in  which  I  indulge  only  on  Christ¬ 
mas  Dav. 


ing  hotel,  given  in  honour  of  the  Company 
by  the  Greeks ;  and  if  we  had  no-  snow  or 
holly  or  mistletoe,  we  had  plenty  of  fun, 
crackers,  music  and  a  dance,  which 
finished  up  by  all  clasping  hands  and  sing¬ 
ing  ‘‘Auld  Lang  Syne,”  and  “God  Save 
the  Queen-Empress,  ”  with  three  cheers 
for  everyone  and  one  for  the  tiger! 

Stfciteg 

Comparisons  are  always  odious — that’s 
why  I  think  it  very  unkind  of  the 
Editor  to  ask  me  which  has  been  my 
happiest  Christmas.  If  I  confess  the  real 
truth  all  my  future  Christmases  are 
certain  to  be  dull,  dreary  and  uninterest¬ 
ing,  for  my  civilian  friends  would  never 
again  ask  me  to  run  down  and  spend 


Christmas  with  them,  because  they  will 
think  I  have  not  enjoyed  my  previous 
visits.  However,  I’ll  risk  it— — I  must  tell 
the  truth.  It’s  so  difficult  to  tell  a  news¬ 
paper  man  untruths  and'  convince  him — 
he’s  so  used  to  them  himself-' 

My  happiest  Christmas  was  spent  in 
the  Service  whilst  I  was  attached  to  the 
Royal  Naval  Armoured  Car  Division.  I 
will  not  mention  which  camp  it  was — for 
fear  of  being  discovered — but  we  had  a 
wonderful  time.  The  secret  of  the  success 
of  that  Christmas  was  that  all  of  us  had 
expected  leave,  and  none  of  us  obtained 
it ;  and  so,  as  The-Powers-That-YVere,  at 
the  Admiralty,  destined  that  we  should 
have  no  Santa  Claus,  we  set  out  to  make 
the  best  of  a  bad  job.  I  think  it  resulted 
in  making  the  worst  of  a  good  job— my 
recollections  are  somewhat  hazy,  however. 
Anyway  we  were  all  jolly  good  fellows, 
and  if  we  had  enemies  and  misunder¬ 
standings  with  other  fellows  in  the  camp 
beforehand,  all  our  prejudices  and  dis¬ 
likes  were  forgotten  on  this  occasion. 

It  was  the  “ hail-fellow-well-met  ” 
spirit  which  made  that  the  happiest 
Christmas  in  my  recollection-  Some¬ 
how  I  wish  the  whole  kinema  In¬ 
dustry  could  catch  something  of  that 
spirit  at  this  Christmastide.  We  all 
have  one  object  in  common,  have  ice 
not?  It  is  the  success  and  progress 
of  British  films.  Then,  for  the  In¬ 
dustry’s  sake,  let’s  forget  all  the 
misunderstandings,  let’s  have  that 
“get-together”  spirit,  and  work  side 
by  side  in  the  New  Year  in  order  to 
achieve  that  goal. 

An  agent’s  life  isn’t  always  a  bed  of 
roses,  although  some  artistes  seem  to 
think  so.  Christmastide  suggests  thanks¬ 
giving  and  forgiving- — and  the  forgetting 
of  misgivings.  It  comes  but  once  a  year, 
after  all,  and1  We  can  prepare  all  sorts 
of  good  resolutions  for  the  New  Year. 
But  deeds  speak  louder  than  words,  and  I 
feel  that  we  should  all  make  one  resolu¬ 
tion — to  put  into  practice  all  the  resolu¬ 
tions  we  resolve  on  Christmas  Day. 

tDlolet  Ifoo^pson 

'J'he  worst  Christmas  I  can  remember  is 
one  which  I  spent  in  the  throes  of 
measles  i'n  the  isolation  ward  of  a  board¬ 
ing-school.  Can  you  imagine  just  how  1 
felt  when  from  my  bed  I  watched  all  the 
other  girls  going  home  for  their  holidays? 
Anyway,  I  determined  that  I  would  never 
miss  another  Christmas  dinner,  and  I 
hope  I  never  shall  do  so.  As  one  grows 
older  one  begins  to.  look  on  Christmas  as 
a  boring  festivity  which  is  a  lot  of  fuss 
and  bother  for  nothing ;  but  there  are 
still  children  to  enjoy  it — a  fact,  I  think* 
some  people  overlook.  Even  if  we  cannot 
be  quite  so  enthusiastic,  do.  let  us  try  to 
forget  our  worries  for  one  day  at  least — 
it  is  terrible  when  young  to.  have  measles 
and  miss  a  Christmas,  but  it  is  still  more 
terrible  to  miss  a  Christmas  simply  be¬ 
cause  no  one  else  can  be  bothered  to  join 
in  the  fun. 


Q 


THE  MOTION  PICTURE  STUDIO 


December  23,  1922 


XMAS 

FILMS 


SOME  SAYINGS 
AND  A  DREAM 

by  “LAUGHS  AND  TEARS” 


E  me  a  lever  and  a.  shouldering 
point  for  it,  and  I  will  move  the 
world,”  said  Archimedes  when  trying  to 
drive  home  his  discovery  of  the  principles 
of  the  specific  gravity. 

"  I  want  to  produce  a  universal  picture 
which  shall  preach  the  folly  of  wars  and  the 
virtues  of  peace,  to  every  nation  in  the 
world  ” ;  also,  “  We  require  a  universal 
language,  and  we  have  now  obtained  it  in 
the  film,’  said  D.  W.  Griffith,  when  point¬ 
ing  out  the  marvellous  possibilities  of  the 
screen. 

In  twenty-five  years,  with  millions  be¬ 
hind  me  and  a  free  foot,  I  might  conceivably 
put  the  motion  picture  on  a  level  with  the 
highest  products  in  the  other  arts,”  has  said 
more  recently  a  man  that  in  the  film  world 
seems  to  follow  closely  on  the  steps  of  the 
great  D.  W.  G. — Tom  Terriss. 

To  enter  now — after  we  have  read  so  much 
on  the  matter  of  capital  for  films — into  a 
detailed  discussion  about  its  reluctance  to 
come  to  the  help  of  the  Industry,  would  be 
perhaps,  to  waste  precious  time  exhalting 
hot  air  purposelessly.  Capital  is  living  a 
period  of  its  life  in  which  it  understands 
it  to  be  a  very  prudent  policy  to  venture  out 
into  the  maddening  traffic  with  great  pre¬ 
caution — the  “  Safety  First  ”  campaign  has 
had  great  effect  on  the  capitalistic  side  of  our 
actual  economics.  Therefore  one  of  the 
slogans  of  the  “  Safety  ”  campaigners, 
‘‘Better  sure  than  sorry!”  has  had 
ample  grip  on  capitalists,  and  thus,  they 
reserve  it  for  more  personal  purposes.  It  is 
riot  only  in  the  film  Industry  where  capital 
is  lacking— Capital  remains  deaf,  and  un¬ 
concerned,  and  turns  its  glance  away  from 
the  millions  of  starvers  who  suffer  bodily 
harm  because  of  his  diffidence  to  venture 
out  to  the  help  of  suffering  humanity. 

But  let’s  return  to  sayings :  The  owner 
of  the  mind  in  which  the  conception  of  the 
Kinema  Club  was  created,  Ernest  G. 
Allighan,  must  have  also  said  something — 
pity  I  wasn’t  there  to  hear  the  saying !  And 
out  from  what  that  worthy  fellow  must  have 
said  the  Kinema  Club  acquired  form  and 
body,  and  to-day  it  has  even  a  soul.  The 
idea  was  great,  so  great  and  sublime  that  it 
inspired  me  with  still  greater  ideas  to  the 
point  of  leading  me  to  see  visions — to  dream 
awake — and  in  one  of  these  visions  I  once 
saw  the  glorious  Club  basking  in  a  nimbus 
of  celestial  light,  such  a  new  Dante’s 

Paradiso,”  and  in  shining  golden 

letters : — 

Si  vid’io  hen  piu  di  mille  splendori 
Trarsi  vir  not,  ed  in  riascun .«’  udia  • 

Tic co  chi  rr  exceed  li  vostri  amori . 

(Paradiso,  c.  5,  vv.  103-4-5.) 

These  hopeful  words  from  which  a  new  era 
was  taking  life,  in  which  we  would  see 
coming  towards  us  a  thousand  glittering 
splendours  under  whose  brilliancy  and 
magnificence  our  lives  would  consumate  in 
the  practice  cf  better  understandings. 

I  also  saw,  in  my  vision,  that  in  the  rays 
of  the  sun.  which  was  gently  rising  in  the 
horizon  of  the  exceedingly  adtistlic  new 
profession,  the  nightmare  of  the  agent’s 
office  was  sneedily  declining  towards  its 
grave.  Yes;  I  dreamt  that  director,  artiste, 
and  cameraman  were  at  last  freed  from  the 
influence  of  the  sucking  tentacles  of  all  forms 
of  parasites.  In  my  vision  there  was  only 
one  office,  .some  sort  of  an  exchange,  where 
human  beings  congregated  in  fraternal  rela¬ 


tion  to  one  another,  there  were  scenarists 
amicably  discussing  professional  subjects 
with  able  and  sincere  directors ;  cameramen 
arranging  details  of  organisation  with  artistic 
directors ;  and  carpenters  and  electricians, 
and  what  else — all  one  whole  community 
fraternising  without  jealousies,  without 
rivalries,  without  favouritisms,  all  living  and 
feeling  for  one,  and  each  one  feeling  and 
living  for  all. 

What  to-day  attracts  my  attention  is  that 
in  these  visions,  in  these  dreams  of  the  past, 
I  never,  I  don’t  recall  seeing  a  single 
capitalist.  There  was  none ;  only  in  one 
corner  of  the  room  there  was  a  sort  of  a 
busy  desk,  at  which  a  man  seemed  very 
busy  distributing  small  pieces  of  paper  which 
these  people  pocketed  without  a  wrinkle  of 
discontent.  Every  one  who  approached  the 
desk  was  served  with  his  small  piece  of 
paper,  and  smilingly  retired  from  the  desk 
to  make  room  for  the  fresh  arrivals. 

The  studio?  Oh!  yes,  the  studio.  It  was 
not  a  building,  it  was  a  complete  organisa¬ 
tion,  a  huge  town.  Here  and  there  were 
laid  up  settings,  and  sections  of  a  large  army 
of  conscientious  workers  were  distributed  ail 
around. 

There  is  no  trusts  here ;  no  monopolies. 
This  spectacle  is  the  idea  (Utopian  as  it 
seemed  once'  of  a  man  who  thought  to  unite 
artistes  in  a  body  for  their  betterment,  and 
it  bps  developed  and  is  still  developing. 

One  day,  it  appeared,  the  artistes  realised 
what  was  the  root  of  all  evils,  and  in  a 
movement:  of  self-denial  undertook  to  work 
for  one  another  and  for  all,  and  started 
co-operating  to  the  mutual  benefit  of  one  and 
all,  and  became  their  own  masters.  The  get- 
rich-quick  left  long  ago,  when  they  realised 
that  there  was  no  scope  for  them  among  true 
and  sincere  workers,. 

Where  did  the  capital  to  embark  on  such 
adventurous  schemes  come  from? 

H’e  created  it. 

Once,  when  there  was  a  certain  faniino  in 
the  industry,  someone  had  the  genial  idea  to 
produce  a  film  on  co-operative  lines,  in  which 
there  were  no  wages  to  be  obtained  there¬ 
from.  It  worked  well,  the  famine  was 
momentarily  appeased,  then  the  idea  was 
secundated,  and  with  but  very  little  subsidies 
another  film  was  started  under  the  same 
co-operative  spirit ;  and  it  worked  too.  The 
ice  was  thus  broken,  every  one  saw  in  it  a 
plank  of  salvation  among  the  wreck  of  the 
Industry,  and  the  vitiated  air  in  which  at  the 
moment  the  Industry  was  vegetating. 

Thus  capital — I  have  awakened  now  from 
my  dream — could  be  easily  found  among  the 
workers  of  the  present  film  world,  not 
among  the  crowd-supers  of  course,  but  among 
the  better  paid  satellites  of  the  film  firma¬ 
ment.  Could  not  there  be  some  scores 
among  all  concerned,  altruistic  enough  to 
understand  this  dream  and  shoulder  their 
effort  unitedlv  towards  one  sure  and  only 
aim?  There  is  nothivq  impossible  to  man, 
provided  there  is  r/oocl  will. 

The  kinema  is,  we  could  affirm,  a  “public 
service,”  also  are  the  telegraphs  and  the 
Dost,  and  these  are  run  in  co-operative  lines 
by  the  State,  why  not  then  the  public  enter- 
D'inments  bv  a  given  profession?  Where  is 
the  impossibility?  Provided  there  is  the 
will,  we  could  go  far;  then  the  development 
will  come,  and  who  knows?  Were  there  not 
doubts  at  the  beginning,  when  the  Club 
started?  Peep  at  it  to-day,  how  it  develops 
and  widens. 


by  CHR1STABEL  L.OWNDES-YATES. 

HY  has  no  firm  of  film  producers  set 
itself  out  to  produce  films  suitable  for 
a  Christmas  program?  Happy  children  are 
taken  in  batches  all  over  the  country  to  see 
“  the  pictures,”  by  willing  fathers  and 
mothers,  and  unless  the  parents  are  in  a 
position  to  take  the  children  to  the  panto¬ 
mime,  the  jaunt  to  the  kinema  is  very 
possibly  their  only  Christmas  treat. 

Yet  it  is  probably  the  most  un-Christmassy 
of  all  their  pleasures  at  that  happy  time. 
The  average  program  varies  little  at  this 
season  from  any  other.  Yet  what  delightful 
films  might  be  made  for  regular  issue  at  this 
time — films  that  could  come  out  freshly  again 
year  after  year,  as  some  of  the  children’s 
plays  on  the  stage  do  in  London,  films  that 
would  give  pleasure  as  often  as  they  were 
put  through. 

Instead  of  the  usual  sex  film — which  even 
at  this  season  apparently  cannot  be  escaped, 
there  might  be  a  sort  of  pantomime  film 
with  an  old  fairy  story  such  as  Cinderella, 
freely  and  well  adapted,  with  delightful 
trick  photography  effects  every  time  the  fairy 
godmother  waved  her  wand.  All  sorts  of 
things  that  would  be  fascinating  to  the  child 
mind  could  be  introduced — everyone  who  has 
ever  loved  a  little  one,  knows  the  sort  of 
thing. 

Then  there  could  be  a  short  film  all  about 
Christmas,  showing  perhaps  Santa  Claus 
himself,  with  his  reindeer  and  his  sledge  all 
piled  up  with  presents,  crossing  the  snow, 
and  later  showing  the  old  gentleman  on  the 
roof  stuffing  himself  and  his  big  sack  down 
the  chimney  pots.  Other  pictures  might 
show  him  stealing  across  the  night  nursery 
with  his  bundles,  to  fill  their  stockings. 

Another  short  film  might  be  Christmas  in 
other  lands,  or  a  comic  film  showing  the 
absurd  results  that  followed  because  some¬ 
body  gave  a  wrong  present  to  somebody  else. 

An  extremely  clever  film  was  produced 
some  years  ago  which  was  called,  I  think, 
“  War  in  Toyland.”  By  continually 
stopping  the  camera  to  move  the  toys,  it 
appeared  as  though  the  things  were  actually 
alive,  and  a  whole  story  was  carried  through 
by  this  means.  Some  clever  film  results 
might  be  obtained  by  using  Christmas  present 
toys  in  this  way. 

For  instance,  the  poor  little  girl,  having 
gazed  longingly  and  hopelessly  at  a  beautiful 
doll  in  the  shop  windows,  the  doll  is  finally 
bought  for  a  rich  but  cross  and  naughty 
little  girl,  and  when  the  doll  is  put  in  the 
rich  little  girl’s  stocking  it  decides  to  change 
places,  and  could  be  shown  slipping  out  of 
the  grand  silk  stocking  and  away,  till  you 
see,  it  at  last  clambering  joyfully  into  the 
poor  little  girl’s  much  darned  sock,  and  the 
delight  of  the  child  on  awaking  to  find  it. 

That  is  the  sort  of  film  that  would  attract 
children  of  all  classes  to  the  pictures — and 
since  we  are  all  children  at  heart,  I  think 
it  would  attract  other  people  too.  It  should, 
of  course,  have  the  whole  program  served 
with  good  and  bright  music — pantomime 
music,  and  old  carol  tunes  played,  if  possible, 
with  bells  to  accentuate  the  Christmas  feel¬ 
ing.  Every  child  and  every  grown-up 
person  should  be  attracted  to  the  kinemas 
at  this*  season,  because  it  is  a  time  when 
pleasure  seeking  is  the  order  of  the  day,  and 
jollity  becomes  a  plain  duty. 

Whether  these  suggestions  are  used  or 
not  in  the  future,  the  writer  wishes  all 
kinemas  and  their  proprietors  a  happier 
Christmas  and  gayer  programs. 


10 


December  23,  1922 


THE  MOTION  PICTURE  STUDIO 


TITLE 

TIGHTNESS 

by  FRANK  KEYES 

w  HI  LSI'  indulging  in  a  post-prandial 
“  forty  winks”  on  Christmas  Day,  I 
was  aroused  by  the  entrance  of  my  friend, 
Septimus  Z.  Splurge,  the  well-known 
financier  and  majority  shareholder  of  the 
Junk  Film  Agency,  Ltd. 

In  accordance  with  his  habit  of  talking 
shop  on  every  inappropriate  occasion,  he 
was  soon  airing  his  views  with  that  defer¬ 
ence  common  to  those  with  a  large  bank 
balance  and  gold  front  teeth. 

“  The  modern  sub-title,”  he  wuffed,  “  is 
a  nuisance  that  has  received  far  too  much 
toleration.  Give  the  modern  title  fiend  an 
Inch,  and  he’ll  take  not  merely  the  modest, 
proverbial  ell,  but  half  the  total  footage, 
if  you  let  him  ! 

“It  is  high  time  for  all  who  regard  the 
Kinema  Business  AS  a  Business  to  put 
their  feet  down  and  nip  these  high  falutin’ 
ideas  in  the  bud. 

“Let  us  get  down  to  the  bedrock  facts 
of  £  s.  d.  and  weed  out  this  canker 
before  it  plunges  us  into  the  abyss  of 
financial  ruin.” 

He  took  a  deep  breath,  and  mixed  a 
drink  with  his  metaphors. 

“The  Art-ti'tle  maniacs  are  the  worst 
offenders,”  he  resumed.  “I  know  of  one 
who  has  the  effrontery  to  charge  as  much 
as  a  guinea  for  a  single  illustration  !  And 
does  he  get  sore  when  you  wanna  make  it 
a  pound?  Oh,  boy! 

“The  only  thing  that  can  be  said  in 
favour  of  titles  is  that  they  are  cheaper 
per  foot  than  action. 

“  That’s  the  one  argument  in  favour  of 
the  long  drawn  out  foreword  and  intro¬ 
ductory  titles.  .  .  . 

“Whd’-say ?  .  .  .  Waal,  if  D.  W.  G- 
uses  forewords,  it  onlv  goes  to  show  that 
genius  is  always  eccentric,  don’t  it? 

'“Directors’  and  artistes’  publicity?  .  .  . 
Pooh  !  Likewise,  Bah  ! 

“The  exhibitors  cut  it  off,  anyway  1  Just 
run  along  to  the  New  Gallery,  or  any 
other  decent  kinema,  and  see  for  yourself. 
They  start  right  on  the  action — puts  a 
zip  into  the  kick-off,  don’cherknow  ! 

“  The  folk  who  regard  the  title  as  a 
literarv  effort  want  another  guess;  Cicero 
and  the  other  old-timers  are  dead  as  nuts! 

“If  the  punctuation  is  punk,  no  one 
notices ;  the  high-brows  stay  at  home  and 
chew  Llomer. 

“  ’S  a  matter  o’  fact,  the  titling  of  a 
five-reeler  is  a  two-day  job.  Wait  till  a 
few  days  before  the  Trade  show  to  put 
the  titling  in  hand  ;  this  makes  the  writers 
get  a  jerk  into  it. 

“An  old  camera,  and  any  short  ends 
or  doubtful  stock  may  be  usefully  em¬ 
ployed  for  taking  titles ;  and  the  dark¬ 
room  boy  can  fill  in  his  spare  time  develop¬ 
ing  .  .  .” 

1  woke  with  a  start,  to  find  I  had 
knocked  over  a  perfectly  good  drink. 


CREATE  YOUR 
STORY 

by  RUPERT  CREW 


'y^TIIEN  setting  out  to  create  an 
original  screen  story  so  many 
writers  are  inclined  to  commence  upon 
their  task  wholly  obsessed  with  the 
thought  of  technicalities  and  limitations 
of  the  modern  photoplay.  Often  a 
scenarist  becomes  so  enthusiastic  over  the 
thoughts  of  his  (continuity  that  he  is 
very  apt  to  overlook  the  fact  that  he  is 
— or  should  be — attempting  to  create  a 
story.  This  is  no*  exaggerated  statement. 
Look  back  upon  the  many  films  pro¬ 
duced  this  year  which  had  their  stories 
ruined  by  strained  technical  effects.  Cer¬ 
tain  scenes  have  been  introduced  for  show 
purposes,  and  which  have  little  or  no 
bearing  on  their  stories.  Admittedly 
they  are  very  effective  from  a  technical 
point  of  view ;  but  often  they  disturb  the 
continuity  of  action  and  line  of  appeal. 

Obviously,  there  are  right  and  wrong 
methods  for  creating  the  screen  story ; 
and  while  I  agree  that  a  fair  knowledge 
of  the  technicalities  of  motion  picture 
production  is  vitally  essential,  I  would 
never  believe  that  such  knowledge  enables 
a  writer  to  create  a  good  photoplay  out 
of  poor  material.  All  the  technical  ex¬ 
perience  in  the  world  will  not  enable  a 
scenarist  to  create.  In  the  first  instance, 
he  must  have  imagination,  a  story  to 
tell,  and  his  powers  of  expression  must 
not  in  the  earliest  stage  be  hampered  by 
thoughts  of  technical  difficulties. 

Let  the  scenarist  bear  this  in  mind. 
Before  he  even  thinks  about  his  con¬ 
tinuity,  he  must  create  his  story.  When 
creating,  I  do  not  say  that  he  should  shut 
his  eyes  entirely  to  the  demands  and 
limitations  imposed  by  the  photoplay. 
So  long  as  he  is  able  to  visualise  all  he 
imagines,  on  the  screen,  the  strict  techni¬ 
calities  can  be  dealt  with  later.  The 
initial  effort  should  be  to  create  his 
story  ;  that  done,  the  continuity  part 
comes  without  difficulty.  Remember  just 
to  think  and  create  in  action. 

To  any  writer  of  screen  stories— 
whether  known  or  unknown — I  would 
say,  you  cannot  see  too  many  films 
When  you  are  about  to  create  a  new 
story,  that  is  the  time  to  go  and  seek 
vour  inspiration  from  such  great  master¬ 
pieces  as  “  Way  Down  East.”  “  The 
Miracle  Man  ”  and  “  Earthbound.” 
Personally,  1  have  seen  these  films  many 
times,  and  can  vouch  for  the  fact  that  T 
have  learnt  more  from  analysing  these 
famous  pictures  that  I  have  from  all 
mv  studio  experience  and  text-books 
put  together. 

You  should  go  and  view  “  Way  Down 
East  ”  over  and  over  again — with  advan¬ 
tage  each  time.  You  should  endeavoui 
to  discover  for  yourself  why  this  par¬ 


ticular  picture  proved  such  an  outstand¬ 
ing  success.  Study  the  story ;  examine 
the  continuity ;  regard  the  production  as 
a  whole,  with  a  critical  mind.  Try  and 
put  your  finger  on  the  secret  spot  of 
this  film’s  wonderful  attraction.  You 
should  discover  it  without  much  difficulty, 
and  I  think  you  will  agree  with  me  that 
its  appeal  does  not  entirely  fall  to  the 
honour  of  Lillian  Gish,  the  other  artistes, 
or  even  the  production  as  a  whole.  Be¬ 
hind  the  entire  conception  there  is  some¬ 
thing  which  touches  the  human  heart, 
and  which  draws  our  interest  and  sym¬ 
pathy.  It  is  the  story.  One  so  simple- 
vet  so  amazingly  lifelike  and  appealing. 

There  is  no  secret  in  Griffith’s  touch. 
Master  director  that  he  is,  invariably  he 
achieves  his  results  by  playing  upon  the 
human  emotions — using  an  appealing 
story  which  is  bound  to  create  sympathy. 
So,*  bear  in  mind  always,  from  the 
moment  you  start  work  on  your  story,  the 
finished  article  must  reach  this  objective. 
Do  not  deceive  yourself.  A  clever  plot 
will  never  “  get  over  ”  if  it  fails  in  its 
appeal.  Make  sure  of  your  story  by 
employing  the  human  touch — the  one 
which  plays  upon  the  chords  of  the  soul. 

You  can  only  achieve  the  human  touch 
in  one  way  :  you  must  reflect  life.  When 
I  say  this,  I  do  not  infer  that  your  story 
should  embody  all  that  is  sordid  and  ugly 
in  life.  You  can  mirror  life  by  the 
cleanest,  sweetest,  and  purest  story — so 
long  as  you  employ  real  characters,  inci¬ 
dents  and  situations. 

When  setting  out  to  create  your  story 
l  would  sav  look  about  you.  Find  your 
characters  and  your  incidents  from  the 
street  below  your  window.  The  most 
interesting  characters  you  could  possibly 
portrav  are  your  neighbours.  Take  life, 
raw,  for  your  creations  ;  the  facts  are 
stranger  and  more  wonderful  than  fiction. 
Employ  incidents  that  would  likely 
happen  ;  and  select  themes  which  matter. 

Having  obtained  an  idea  for  your  story, 
do  not  attempt  to  elaborate  upon  it  un¬ 
less  you  feel  impelled  to  do  so.  In  this 
way  you  should  be  able  to  judge  the 
quality  of  its  real  worth.  To  my  mind, 
an  idea  is  of  little  use  unless  you  cannot 
vest  until  you  have  commenced  work 
upon  it.  To  get  the  best  out  of  an  idea 
I  am  of  opinion  that  you  must  become 
“  possessed  with  it  ”  ;  for  only  through 
downright  enthusiasm  can  you  create  a 
story  which  is  worth  reading. 

Do  not  be  lead  away  with  the  belief 
that  you  can  write  a  successful  screen 
storv  upon  one  or  two  fairly  dramatic 
incidents.  Behind  vour  story  there  must 
be  an  idea  big  enough  and  dominant 
enough  to  give  birth  to  incidents  and 
situations  without  strain  ;  to  create  your 
characters  without  effort,  and  above  all, 
to  make  vour  story  sincere  and  convinc¬ 
ing. 

A  dominant  idea  will  force  your  story  to 
begin — and  to  end. 


11 


THE  MOTION  PICTURE  STUDIO 


December  23,  1922 


Edward  D.  Roberts , 

F.  Rupert  Crew  and 
Frank  C.  Crew 

Extend  Hearty  Greetings  to 
Members  of  the  Profession,  and 

Beg  to  Announce 

that  they  will  produce  a  series  of  special 
dramatic  subjects  during  1923. 

The  Stories  will  be  expressly  written  for 
the  Screen  by  the  Messrs.  Crew  and  directed 
by  Edward  D.  Roberts. 

Production  will  commence  upon  the  first 
film— “RAYS  OF  WARNING”— in  the 
early  Spring,  and  all  communications  should 
be  addressed — 

ROBERTS-CREW  ART  PRODUCTIONS, 
62,  Brookside  Road, 
Golders  Green,  N.W.ll. 


As 

'  ;  Nannie 

in 

“Prince  of  Lovers.” 


MARIE 

AULT 

Character  &  Comedy. 


Now  playing  Lead  as  the 
Mother  in 

“The  Monkeys  Paw” 

(A  rtistic  Films) 

booked  by 

PERCY  CLARBOUR, 

Palace  House, 
Shaftesbury  Avenue. 

Address : 

His  Majesty’s  Theatre. 


As 

Amah 

in 

“  East  of  Suez.” 


12 


December  23,  1922 


THE  MOTION  PICTURE  STUDIO 


WHAT  A  DAY! 

by  LESLIE  EVELEIGH 


"IVTE  were  nearing  the  finish  of  the  pro- 
*  *  duction,  with  a  couple  of  interior  sets 
and  the  “  stunts  ”  to  do.  I  arrived  at  the 
studio  late  that  morning,  to  find  all  the 
artistes  made  up  and  the  director  waiting 
patiently  for  my  arrival.  Dashing  into  the 
dark-room  to  load  in  double-quick  time,  I 
found  for  some  unexplained  reason  that  I 
had  nothing  but  ioo  feet  lengths  of  stock. 
No  time  to  join  them,  so  I  must  use  them  as 
they  are. 

In  record  time  the  camera  was  set  and 
we  were  rehearsing — “Lights — Ready- 
Take  !  ”  The  handle  was  turning  merrily 
when — Crash  !  One  of  the  overheads  broke 
from  its  moorings,  and,  missing  the  leading 
lady  by  about  six  inches,  shattered  itself  on 
the  floor.  Said  L.L.  with  a  “  close-up  ”  size 
scream,  promptly  faints. 

While  the  art  director  is  putting  down  a 
new  carpet  and  the  leading  lady  recovering 
from  the  shock  to  her  nerves,  the  director 
decides  we  had  better  go  out  and  do  the 
“  stunts.”  The  first  one  is  the  race  between 
the  juvenile  lead  on  his  horse,  which  is  to 
win  the  Derby,  and  the  heavy  man  who  has 
pinched  a  motor-bike  to  escape  on. 

We  do  the  two  or  three  runs  down  country 
lanes  first,  and  then  get  set  up  in  the  car 
for  the  close-ups  running  alongside.  The 
first  take  is  unsuccessful,  because  the  bike 
romps  away  from  the  horse,  which  would 
never  do,  for  the  horse  must  gradually  over¬ 
take  the  bike. 


The  second  time  we  have  better  luck,  and 
the  Herculean  juvenile  comes  level  with  the 
dirty  dog,  manages  to  grab  his  collar,  and 
yanks  him  out  of  the  saddle  on  to  the  back 
of  the  prospective  Derby  winner.  Got  them 
nicely  placed  in  the  centre  of  the  picture  all 
the  while,  too.  My  smile  of  satisfaction  is  at 
its  broadest  when  it  occurs  to  me  that  I  had 
perforce  to  use  up  ioo  feet  lengths,  and  I 
seem  to  have  been  going  for  some  time.  Exit 
smile  quickly  as  I  glance  at  camera  and  find 
I  have  been  turning  all  the  while  on  the  one- 
turn-one-picture  spindle  ! 

It  took  the  director  quite  a  long  time  to 
unburden  his  mind  when  I  broke  the  news 
to  him,  and  the  two  artistes  seemed  strangely 
disinclined  for  conversation. 

However,  I  put  in  another  ioo  feet  and  this 
time  there  was  no  mistake.  The  heavy  man 
will  not  be  out  of  hospital  for  a  while  owing 
to  the  juvenile  letting  him  slip  off  the  horse 
while  he  was  pulling  up. 

Now  for  the  most  thrilling  incident  in  the 
film.  The  juvenile  had  released  himself  from 
his  bonds  in  the  interior,  and  had  registered 
horror  when  he  looked  out  of  the  window 
(his  only  hope  of  escape)  to  find  the  river  was 
fully  60  feet  below  him.  He  then  registered 
determination  to  attempt  the  jump,  having 
fortified  himself  with  a  glance  at  a  snapshot 
of  his  beloved,  which  he  carried  in  a  small 
pocket  inside  his  shirt. 

And  now  for  the  jump  itself.  The  camera 
was  stationed  on  the  other  side  of  the  river. 


The  front  cut-outs  were  in  position,  giving  a 
long,  narrow,  upright  picture.  A  new  ioo  feet 
length  was  ample  for  this,  because  the  actual 
jump  would  be  about  20  pictures.  The  in¬ 
trepid  youth  was  at  the  sixth  storey  window 
awaiting  the  wave  of  the  director’s  handker¬ 
chief  .  .  .  “  Go!  ”  said  he  to  me  ...  I 
started  turning.  The  handkerchief  waved. 
The  youth  stood  as  one  turned  to  stone.  The 
handkerchief  waved  again,  but  a  little  more 
hurriedly.  Nothing  happened  except  that  the 
handle  went  on  turning. 

The  director  addressed  some  remarks  to 
no  one  in  particular,  and  waved  the  cambric 
square  rather  agitatedly.  Still  nothing 
doing.  I  began  to  feel  anxious.  After  what 
seemed  an  eternity  to  the  tense  little  group 
on  the  bank,  the  youth  jumped  .  .  .  He  was 
just  passing  the  second  storey  window  when 
• — G-r-r-r  ! — the  100  feet,  length  ran  out,  leav¬ 
ing  a  beautifully  clean,  empty  gate  devoid 
of  an  emulsion  on  which  to  register  the  really 
magnificent  splash. 

As  I  turned  to  the  director  there  was  a 
grinding  of  brakes  as  the  train  pulled  up 
in  the  station,  and  I  awoke  with  a  jump. 
Looking  out  of  the  window  I  saw  the  name 
of  the  station.  Two  past  home  and  a  four 
mile  walk  back  ! 

Some  there  are  who  do  not  agree  with  me; 
nevertheless  I  maintain  it  is  a  good  thing 
that  Christmas  dinners  are  held  but  once 
during  the  year. 


NANCY  &  CECILIA 
DE  C(EUR  (TWINS). 

41,  RedclifFe  Square, 
South  Kensington, S.W.10 

Appeared  in  Sinclair  Hill's  New 
Stoll  Production, 

“OPEN  COUNTRY.” 


^  Of  Special  Interest 
to  Agents  in  the  East. 

FLORENCE  INGRAM 

Beacon, 

British  Super, 

Davidsons,  &c.,  also 
“Mrs.  STANTON”  (2nd 
lead)  in  GIPSY  BLOOD 
— The  Daisy  Productions. 

Galle  Face  Hotel, Colombo 


Ernest  A.  Douglas. 


ARISTOCRATIC  AND 
CHARACTER  OLD  MEN 

7  Years  Contracts  in  Film 
Work,  long  Stage  experience. 


Address : — 

12,  Sunnyside  Rd., 

Ealing,  W.5. 


13 


THE  MOTION  PICTURE  STUDIO 


December  23,  1922 


COMPLETE  LIST  OF  ALL  THE  BRITISH  STUDIOS,  TOGETHER 
WITH  ADDRESSES,  TELEPHONE  NUMBERS, 


Adelqui  Millar  Productions. 

Address  :  1,  Leinster  Square,  W.2. 

Albert- Philli ps  Film  Production. 

Address  :  3,  Wardour  Street,  WJ. 
Phone  :  Regent  3282. 

Alliance  Film  Co. 

Studio  :  St.  Margaret’s,  Twicken¬ 
ham. 

PnoNE  :  Richmond  1945. 

Route  :  ’Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s.  Fare  : 
1st,  2s.  OR,  3rd,  Is.  0£d.  ;  R.T., 
1st  3s.  Id.,  3rd  2s.  Id. 

From  Waterloo  :  A.m.,  every 
10  minutes  ;  from  St.  Margaret’s 
every  10  minutes. 

Artistic  Films,  Ltd. 

Address  :  93-95,  Wardour  Street, 
W.  1. 

Phone  :  Gerrard  3210. 

Film  :  “  The  Monkey’s  Paw.” 
Director  :  Manning  Haynes. 
Scenarist  :  Lydia  Hayward. 
Cameraman:  Frank  Grainger. 
Stage  :  Seventh  week. 

Atlas  Biocraft. 

Address  :  16,  Albemarle  St.,  W. 
Gen.  Manager  :  Miles  Mander. 
Film  :  “  The  Man  without  Desire.” 
Director  :  Adrian  Brunei. 

Star  :  Ivor  Novello  and  Nina 
Vanna. 

Cameraman  :  Harry  Harris. 
Scenarist  :  Frank  Fowell. 

Stage  :  Tenth  week. 

Barkers. 

Address  :  Ealing  Green,  London 
W.  5. 

Phone:  Ealing  211  and  1582. 
Route  :  District  or  C.L.R.  Tube  to 
Ealing  Broadway.  Piccadilly 
Tube,  change  at  Hammersmith. 
’Bus  Route  No.  17. 

Studio  Vacant. 

B.  &  C.  Productions. 

Address  :  Hoe  St.,  Walthamstow. 
Phone  :  Walthamstow  364  and  712. 
Route  :  'Bus  38.  Tram  81  to 
Bakers’  Arms.  G.E.R.,  Liver¬ 
pool  Street  to  Hoe  Street. 
Fare :  1st  Is.  2d.,  2nd  10jd., 
3rd  7d.  R.T.,  1st  Is.  9d.,  2nd 
Is.  4d.,  3rd  10^d. 

From  L.S.  :  A.m.  7.58,  then 
every  few  minutes  until  p.m., 
9.5,  9.20,  9.35,  9.50,  10.5,  10.20, 

10.35,  10.50,  11.5,  11.20,  11.35, 

11.50,  12.5,  12.35  midnight. 

Hoe  Street  to  L.S.  :  A.m.,  7.53, 

8.2,  8.8,  then  every  few  minutes  ; 
p.m.,  8.20,  8.35,  8.50,  9.6,  9.20, 

9.35,  9.49,  10.6,  10.20,  10.36, 

10.50,  11.6,  11.20,  11.35,  12.2. 
Film  :  “  Wonder  Women  of  the 

World.” 

Type  :  One  reelers. 

Director  :  Edwin  Greenwood. 
Cameraman  :  A.  Kingston. 

Stage  :  One  a  fortnight. 


Baron  Films. 

Address  :  95,  St.  Martin’s  Lane, 
W.C.2 

Beehive  Production. 

Film  :  Comedies. 

Production  Manager  :  Geoffrey 
Benstead. 

Director  :  George  Dewhurst 

Assistant  Director  :  Horace 

Corbyn. 

Scenarist  :  Percy  Manton. 

Stars  :  Jimmy  Reardon  and  Mar¬ 
garet  Hope. 

Cameraman  :  G.  Pauli. 

Stage  :  Scheduled. 

British  Famous  Films. 

Address  :  “  Woodlands,”  High 

Road,  Whetstone. 

Phone  :  Finchley  1297. 

Studio  Vacant. 

British  and  Oriental. 

Address  :  B.  P.  Studios,  Thornton 
House,  Thornton  Road,  Clapham 
Park. 

Phone  :  Streatham  2652. 

Studio  Vacant. 

British  Photoplays 

Address  :  Devon  Chambers,  28, 
Fleet  Street,  Torquay. 

Not  Working. 

British  Productions. 

Address  :  Selborne  Road,  Hove. 

Film  :  Historial  Subjects. 

Director  :  Lieut.  Daring. 

Cameraman  :  Bert  Ford. 


British  Super  Films. 

Address  :  Worton  Hall,  Isleworth. 
Phone  :  Hounslow  212. 

Route  :  ’Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met-.). 

From  Waterloo  to  Isleworth. 
Fare  :  1st  Is.  Old.,  3rd  9d.  ; 
R.T.,  1st  Is.  9d.,  3rd  Is.  6d.  ; 

а. m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 
past  each  hour  until  11.51  p.m. 
Extra  trains,  4.43,  5.13,  5.43, 

б. 13,  6.43,  7.13. 

Isleworth  to  Waterloo :  8.33, 
8.44,  9.3,  9.14,  9.33,  9.44,  10.14, 
10.44  Same  minutes  past  every 
hour  until  10.44,  11.14  p.m. 
Extra  trains  5.30,  6.0,  6.30. 

Captain  Kettle  Films. 

Studios  :  Weir  House,  Broom 

Road,  Teddington. 

Daisy  Productions. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson 

Address  :  Lea  Bridge  Road,  E.  10. 
Phone  :  Walthamstow  634. 

Route  :  ‘Bus  Nos.  35  and  38. 
Trams  81,  55,  57. 

G.E.R.  from  Liverpool  Street 
to  Lea  Bridge  Road.  Fares  : 
1st  Is.  2d.,  2nd  lOJd.,  3rd  7d. 
R.T.,  1st  Is.  9d.,  2nd  Is.  4d., 
3rd  lOJd.  A.m.,  10.34 ;  p.m., 
1.50,  3.5,  4.37,  6.27,  8.5. 


Lea  Bridge  to  Liverpool  Street : 
A.m.,  8.26  ;  p.m.,  1.4,  5.27,  5.54, 
6.29,  7.7,  8.4,  8.57,  10.4. 

Dewhurst  Productions. 

Film  :  “  What  the  Butler  Saw.” 
Director  :  George  Dewhurst, 

Star  :  Stewrart  Rome. 

Cameraman  :  G.  Pauli. 

Stage  :  Third  week. 

Film:  “The  Uninvited  Guest.’’ 
Director  :  George  Dewhurst. 
Star  :  Stewart  Rome. 

Cameraman  :  G.  Pauli. 

Stage  :  Third  week. 

F,  P.-Lasky. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770. 

Route  :  Bus  38a,  to  North  Road, 
and  then  tram  No.  11. 

Studio  being  used  by  Grahame 
Cutts. 

Gaumont. 

Studio  :  Lime  Grove,  Shepherd’s 
Bush,  W.12. 

Phone  :  Hammersmith  2090-1-2. 
Route  :  ’Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station 

Film  :  “  Bonnie  Prince  Charlie.” 
Stage  :  Scheduled. 

Clen  Film  Productions. 

Address  :  20,  Lisle  Street,  W.C. 
Studio  :  “  Belgrave,”  Marine 

Terrace,  Aberystwyth. 

Not  working. 

“  Cems  of  Art  ”  Film  Co.,  Ltd. 

Address  :  1,  Bear  Street  (opposite 
Daly’s  Theatre). 

Films  :  “  Gems  of  Art.” 

Director  :  Norman  Macdonald. 
Cameraman  :  E.  Groc. 

Stage  :  Casting. 

George  mark  Productions. 

Address  :  47,  Berners  Street,  W.  1. 
Phone  :  Museum  3012. 

Film  :  “  The  Starlit  Garden.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Cameraman  :  H.  A.  Rendall. 

Stage  :  Second  week 

Grahame  Wilcox  Productions. 

Address  :  Poole  Street,  Islington. 
Phone  :  Dalston  2770.  . 

Route  :  ’Bus  38a,  to  North  Road, 
then  tram  No.  11. 

Film  :  Not  announced. 

Director  :  Grahame  Cutts. 
Stage  :  Starting  shortly. 

Cranger-Binger. 

Address  :  191,  Wardour  St.,  W.  1. 
Phone:  Gerrard  1081  and  172S. 
Studios:  Haarlem,  Holland. 

Film  :  “  The  Hypocrites.” 

Stage  :  Eighth  week. 

Granville  Productions. 

Address:  61,  Berners  Street,  W.l. 
Phone  :  Museum,  2528. 

Film  :  “  Hennessey  of  Moresby.” 
Stage  :  Starting  shortly. 

Hardy. 

i  Address:  13,  Gerrard  St.,  W.l. 


WE  CAN  DELIVER  FROM  STOCK 

The  Columbia  12  in.  by  2  in-  Silver-tipped 
Carbons  for  Wobl  and  other  Studio  Lamps. 

Recommended  by  V/ohls  as  the  only  suitable  Carbon 
for  their  Lamps. 

UNITED  KINGDOM  PHOTOPLAYS,  Ltd 

29a,  CHARING  CROSS  ROAD,  W.C.2. 

’Phone  :  Gerrard  8742. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


CC 


’Phone 


DEBRIE 


99 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER. 

23,  Mortimer  Street,  London,  W.  i 


14 


Dfxember  23,  1922 


THE  MOTION  PICTURE  STUDIO 


FULL  PARTICULARS  OF  CURRENT  PRODUCTIONS,  ROUTES 
AND  FARES  FOR  REACHING  THE  STUDIOS 


Harma  Clarendon. 

Address  :  1 6,  Limes  Road,  Croydon 
Phone  :  Croydon  921  and  2084. 

Hepworth  Picture  Plays. 

Address  :  Walton-on-Thames. 
Phone  :  Walton  16. 

Route  :  From  Waterloo.  Fare  : 
1st  4s.  ll£d.,  3rd  2s.  6d.  ;  R.T., 
1st  7s.,  3rd  4s.  4£d. 

From  Waterloo :  A.m.,  7.0, 

8.0,  9.20,  10.20,  11.20;  p.m., 
12.20,  1.20.  2.20,  3.20,  4.20,  4.54, 
5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  8.20,  8.55,  9.20,  10.20, 
11.34. 

From  Walton  :  A.m.  7.59,  8.29, 
8.41.,  8.56,  9.9,  9.46,  10.10,  11.10. 
p.m.,  12,10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44,  6.10.  7.10,  8.10,  9.10, 

10.10,  10.35,  11.34. 

Productions  scheduled  but  not 

announced. 

ideal 

Address  :  Boreham  Woods,  Elstree, 
Herts. 

Phone  :  Elstree  52. 

Route  :  Trains  from  St.  Pancras. 
Fare  :  1st  2s.  lid.,  3rd  Is.  9£d.  ; 
R.T.,  double  fare.  A.m.,  7.30, 
8.0,  8.50,  9.55,  10.45,  11.48; 
p.m.,  12.33,  1.13,  2.35,  3.55,  4.45, 
5.12,  6.2,  6.45,  6.50,  7.20,  8.8 
9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras  : 
9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.3,  3.56,  4.56,  5.29.  6.18,  6.55, 
7.36,  8.54,  10.14,  11.3. 

Studio  Manager  :  F.  A.  Kendrick. 
Art  Director  :  J.  T.  Garside. 


Film  ;  “  This  Freedom.” 
Director:  Denison  Clift, 
Star:  Fay  Compton. 
Scenarist  :  Denison  Clift. 
Stage  :  Eighth  week. 


Film:  “The  Hawk.” 

Director  :  Frank  Crane. 
Star  :  Chas.  Hutchison. 
Stage  :  Fifth  week. 


Film  :  “  Out  to  Win.” 
Director  :  Denison  Clift. 

Stage  :  Scheduled. 

Film  :  “  Mary  Queen  of  Scots.” 
Director  :  Denison  Clift. 

Stage  :  Scheduled. 


International  Artists. 

Address:  52,  Shaftesbury  Av.W.  I 

Phone  :  6338. 

Film  :  “  God’s  Prodigal.” 

Star  :  Donald  Crisp. 

Cameraman  :  C.  McDowell. 

Isle  of  Man  Films. 

Address  :  The  Manx  Studios, 
Isle  of  Man. 

Not  working. 

Masters. 

Address  :  Weir  House,  Broom 
Road,  Teddington. 

Phone  :  Kingston  1617. 

Route  :  From  Waterloo  to  Tedding¬ 
ton,  Fare :  1st  2s.  7|d.,  3rd 
Is.  4d.  ;  R.T.,  1st  4s.  4|d.,  3rd 
2s.  8d.  From  Waterloo,  a.m., 
7.55,  Then  trains  every  few 
minutes  until  11.55  p.m.  From 
Teddington,  a.m.,  7.51.  Then 

trains  every  few  minutes  until 
11.1,  11.16,11.51  p.m.  ’Bus  27. 

Minerva  Films. 

Address  :  110,  Victoria  St.,  S.W.l. 

Phone  :  Victoria  7545. 

Not  working. 

Progress  Film  Co. 

Address  :  Shoreham-on-Sea. 

Phone  :  Shoreham  19. 

Quality  Films. 

Studio  :  Windsor  Studios,  Catford. 

Phone  :  Lee  Green  948. 

Film  :  One  reelers. 

Director  .-  George  A,  Cooper. 

Stars  :  Sydney  Folker  and  Joan 
McLean. 

Studio  Manager  :  S.  Folker 

Cameraman  :  R.  Terreaneau. 

Stage  :  One  a  week. 

Raleigh  King  Productions. 

Address  :  Watcombe  Hall,  Tor* 
quay. 

Studio  :  Vacant. 

Regulus  Films. 

Address  :  48,  Carnaby  Street, 

Regent  Street,  W.l. 

Not  working. 

Samuelson  Film  Co. 

Address  :  Worton  Hall,  Isleworth. 

Film  :  “  A  Royal  Divorce.” 

Director  :  G.  B.  Samuelson. 


Star  :  Gwilym  Evans. 

Stage  :  Fourth  week. 

Seal  Productions. 

Address  :  171,  Wardour  Street. 

Phone  :  Regent  4329. 

Not  working. 

Screenplays. 

Address  :  Cranmer  Court,  Clapham 
Phone  :  Brixton  2956. 

Route  :  ’Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll. 

Address  :  Temple  Road,  Crickle- 
wood. 

Phone  :  Willesden  3293. 

Route  :  ’Bus  No.  16. 

Studio  Manager  :  J.  Grossman 
Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart 
Rome  and  Edith  Bishop. 
Cameraman  :  D.  P.  Cooper. 

Stage  :  Twenty-First  week. 

Film  :  “  Top  of  the  World.” 
Director  :  Maurice  Elvey. 

Stage  :  Scheduled. 


Film  :  “  Open  Country.” 

Director  :  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  David 
Hawthorne 

Cameraman  :  AI  Moise. 

Stage  :  Completed. 


Film  :  “  Sherlock  Holmes.” 
Director  :  George  Ridgwell. 
Star  :  Eille  Norwood. 
Cameraman  :  Al  Moise. 
Stage  :  Starting  shortly. 


Film  :  “  The  Sign  of  Four.” 
Director  :  Maurice  Elvey. 
Star  :  Eille  Norwood. 
Camerman  :  Jack  Cox. 
Stage  :  Seventh  week. 


Film  :  “  The  Wandering  Jew.” 
Star  :  Matheson  Lang. 

Stage  :  Scheduled, 


Film  :  “  Guy  Fawkes.” 

Director  :  Maurice  Elvey. 

Stage  :  Scheduled. 

J.  Stuart  Blackton. 

Address  :  Bush  House,  Alawych. 
Phone  :  Central  1935. 

Film  :  “  The  Virgin  Queen.” 

Director  :  J.  Stuart  Blackton. 
Star  :  Lady  Diana  Manners. 


Cameraman  :  Nicholas  Musurca. 
Stage  :  Cutting  and  assembling. 

T orquay  &  Paignton  Photoplays 

Address  :  Public  Hall,  Paignton 
Not  working. 

Union  Films. 

Address  :  Strand  Street,  Liverpool 
Phone  :  Central  (Liverpool)  325 
Not  working. 

Walker  Boyd  Sunshine  Produc¬ 
tions. 

Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. 

Address  :  Princes  Studios,  Kew 
Bridge. 

Phone  :  Chiswick  574. 

Route  :  ’Bus  Nos.  27,  105. 

Broad  Street  to  Kew.  Fare  r 
1st  Is.  4d.,  3rd  9d.,  RT.,  1st 
2s.  OJd.,  3rd  Is.  4d.  A.m.,  8.2, 

8.20,  8.45,  9.0,  9.47,  10.17,  10.47, 

11.17,  11.47  ;  p.m.,  12.17,  12.47, 

1.17,  1.47,  2.17,  2.47,  3.17,  3.47, 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40, 
6.2,  6.20,  6.50,  7.17,  7.47,  8.17„ 
8.47,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street : 
A.m.,  9.40,  10.8,  10.38,  11.8, 
11.38;  p.m.,  12.8,  12.38,  1.8. 

1.38,  2.8,  2.38,  3.8,  3.38,  4,8,  1.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20, 

6.38,  7.8,  7.38,  8.8,  8.38,  9.8,  9.38, 
Film:  “The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Florence  Turner,  Kathleen 
Vaughan,  Norah  Swinburne,  Fred 
Wright,  and  James  Knight. 
Stage  :  Cutting  and  assembling. 

Film  :  Not  announced. 

Stage  :  Starting. 

Welsh  Pearson. 

Address:  41-45,  Craven  Park, 
Harlesden,  N.W.  10. 

Phone  :  Willesden  2862. 

Route  :  ’Bus  No.  IS. 

Film:  “The  Romany.” 

Star  :  Victor  McLaglen. 

Director  :  Martin  Thornton. 
Cameraman  :  Percy  Strong. 

Stage  :  Completed. 

Film  :  “  Nell  Gwynne.” 

Stage  Casting. 

Zodiac. 

Studio  :  Kingsbury  Studios 
Film  :  Walter  Forde  Comedy 
Stage  :  Scheduled. 


Receftfkss  Quality  &  Service  waIkxirst 

100%  FILM  100? 

amfcoloSw  Developers  &  Printers  LOtJR?H' 


15 


THE  MOTION  PICTURE  STUDIO 


December  23,  1922 


THESE  ARE  HARD  LINES 

BUT  there  are  harder  lines  even 
than  these  that  surround  this 
page.  The  lines  of  many  a  film 
worker  have  not  fallen  in  pleasant 
places.  And  to-day  they  are  in 
desperate  straits.  This  fact  alone 
is  enough  to  prompt  those  who 
are  sympathetic — and  practical  in 
their  sympathy — to  do  all  that  is 
possible  to  meet  the  needs  of  the 
hour.  That  is  one  of  the  reasons 
that  prompted  us  to  reduce  the 
price  of  the  studio  worker’s  own 
professional  journal. 


Enclosed  is  half-a-crown. 
Put  me  on  your  mailing  list 
for  13  weeks. 


Name  . 

Address  . 


1 

l 


Just  a  twist 
of  the  wrist 


and  you’ll  tear  this  corner 
of  the  page  off  —  sign 
it  and  post  at  once. 


(New  Subscription  Rates 13  Weeks,  2/6, 
Six  Months,  5/-;  One  Year,  10/- post  free.) 


I 
I 

93,  LONG  ACRE,  LONDON,  W.C.2  L 


Printed  and  Published  bv  ODHAMS  PRESS  Ltd.,  Long  Acre,  December  23,  1922 


The  Motion  Piet  ire  Studio.  Saturday ,  January  13,  1923 


Motion  Return  Studi 


Registered  at  the  G-P.O.  as  a  newspaper. 


The  OTficiuL  Organ  of  the  l<oinema  Clab 


Vol.  II  No.  84 


Saturday,  January  13,  1923 


T  wopence 


■bhbb 


n 


Everybody 


in 


British  Stores 


will  be  at  the  Second 


KINEMA  CLUB 


CARN I V  AL 


at  the  HOTEL  CECIL  on 
MONDAY,  FEBRUARY  5. 


Dancing  from  10p.m.  to  3a.m. 
Valuable  Prizes  for  the  best 
Fancy  Costumes. 


New  and  Novel  Attractions . 


TICKETS  (''suppir8)  £1  :  5  :  0 


single  may  be  obtained  from  BILLIE 
BRISTOW  (Organiser),  175,  Wardour 
St.,  W.l, The Kinema  Club  (Secretary’s 
Office),  9,  Great  Newport  Si,  W.C., 
or  any  Member  of  the  Committee. 


YOU  will  be  there! 


1 


THE  MOTION  PICTURE  STUDIO 


January  13,  1923 


ja'a. 


ARTISTES 


THELMA 

MURRAY 

Character  &  Emotional  parts 
Leads  for  Stoll,  Masters, 
Raleigh  King,  B.  &  C.,  etc. 
All  corns  :  “LYNDALE.” 
OAKLEY  RIL. 
WHYTELEAFE,  SURREY, 
or  to  the  Kinema  Club. 


NOEL  GRAHAME 

Heavy  Character  &  Comed3r. 
Heavy  lead  :  “  Bladys  of  the 
Stevvponey,”  “Cost  of  a  Kiss,  ’ 
“  Britain's  Naval  Secret,”  etc. 

ii,  Clanricarde  Gardens, 

•  Hyde  Park,  W.2. 

Park  4514. 
and  Kinema  Club. 

Photo  hv  Havana 


DOUGLAS  WEBSTER 

Juvenile  Character  Leads. 
Stage  Experience. 

Just  completed  “Leroy 
Lindsay”  in  “Shifting  Sands’’ 
(Granville  Productions). 

All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av. 
’Phone  :  Regent  4329. 


MARY  ODETTE 

Just  concluded  :  “  The  Lion’s 
Mouse”  and  “The  Hypo¬ 
crites.’’ 

Latest  Releases  : 

“  Wonderful  Year 
“AH  Roads  Lead  tc  Calvary.” 
All  corns.  ;  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av.,W.i 
Regent  4823. 


GORDON  BEGG 

Dramatic — Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.  11, 
Telephone:  Battersea  21. 


DEZMA  DU  MAY 

“  Long  Odds”  (Stoll),  “  Rob 
Roy”  (Gaumont),  “  Pearl  for 
Pearl  ”  (Quality),  also  Welsh- 
Pearson,  Alliance  Screen 
Plays,  Ideal,  Davidson’s. 

170,  HIGH  ROAD, 

ILFORD,  E- 


MELINDA  LLOYD 

Alliance,  The  Councillor’s 
Wife  in  “The  Card,”  Ideal, 
Samuelson,  Granville  Pro¬ 
ductions,  Laskys,  etc. 

24,  PARK  VIEW, 
WELLING,  KENT. 


GEORGE  KEENE 

Star  Lead.  Disengaged. 
Featuring — “  Black  Sheep,” 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters,” 

“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 
Address  : 

121b,  Church  St.,  Croydon 
'Phone  :  Croydon  835. 


PHOTO 

BLOCK 


THIS  SPACE 
TO  LET 

;£3  for  13  insertions, 
including  cost  of 
making  block. 


F.  C  R  E  M  L  I  N  . 

Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club 


ARTISTES  . 


R0S1NA  WRIGHT. 

“Sister  Ursula”  in  “  Per- 
petua  Mary  ’(Famous-Lasky) 
“The  Nurse”  to  "The  Grass 
Orphan”  (Ideal  Film). 
"Phillipa”  in  “Open  Country” 
(Stoll  Film). 

8  years  Film  experience. 

8a,  GOLDEKS  WAY. 
GOLDBRS  GREEN, N.W  11 
or  Kinema  Club. 


ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 
Character  Parts,  “  Mrs.  Gatty,’’  in  “Christie 
Johnstone  ’’  (Broadwest),  “  Margaret  Howe’’ 
in  “  Beside  the  Bonny  Brier  Bush  ’’  (Lasky), 
“  Nanny  ’’  in  “  Tell  your  Children  ’’  (Interna¬ 
tional)  “Anna  ”  in  “  The  Prodigal  Son  ”  (Stoll). 

55.  Campden  St.,  Kensington.  W.8. 

Tel.  :  Park  3623. 


ARTHUR  PUSEY* 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagoon”  for  I.V.T.A. 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 


THIS  SPACE  TO  LET 
jQ 2  10  0  for  13  insertions 


MILTON  ROSMER 

INVITES  OFFERS. 

16,  Weymouth  Street,  W. 1.  Phone:  Langham  2243 


MRS.  HUBERT  WILLIS, 

Character  and  Emotional  Parts. 

29,  St.  Peter’s  Square,  W.6.  ’Phone  :  Hammersmith  85, 
or  Kinema  Club.  Regent  630. 

MARIE  AULT, 

Character  and  Comedy. 

235,  King’s  Road,  Chelsea 

WARREN  HASTINGS, 

5,  POND  PLACE, 
CHELSEA,  S.W. 3. 

_  INVITES _ O  FFE  RS. 

HARCOURT  TEMPLEMAN, 

Assistant  Director  Hate  Screen  Plays). 

At  Liberty.  Returned  from  Tour. 

Corns.  :  33,  Ennismore  Avenue,  Chiswick,  W.4. 


COSTUMIER  .  .  .  ■ 

Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W, 

’Phone;  Gerrard  612. 


SCENARISTS  . 


GERALD  DE  BEAUREPAIRE, 

Editing,  Titling,  Continuities. 

62.  Foxboume  Road.  Balham,  S.W.17 _ 

KINCHEN  WOOD, 

Late  Wm.  Fox  Studios.  Los  Angeles. 

7,  Wymering  Mansions,  Maida  Vale,  W.9 

THIS  SPACE  TO  LET 
17s.  6d.  for  13  insertions 


CAMERAMEN.  .  .  . 

ALFRED  H.  MOISE. 

PREMIER  CAMERAMAN  — 

:  SCIENTIFIC  OUTFIT.  : 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  Street,  W.C.2. 

’Phone — Regent  630. 

L.  G.  EGROT 

EXPERT  CAMERAMAN. 

“The  Better  ’Ole,”  etc.,  etc., . 

. “  The  Wonderful  Story.’’ 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W. 2. 

’Phone  :  Streatham  3085. 

FlTbTTc  i  t  y  .  .  .  . 

“Let  Me  Handle  Your  Account.” 

JOHN  CORNYN 

Advertising  ::  Publicity 

231,  BYRNE  BLDG.,  Los  Angeles, 

Cal.,  U.S.A. 

G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“M’LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41,  Glasshouse  Street,  W.l. 

’Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  630. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 
NOW  BACK  IN  LONDON. 


MAD  WILSON 

Stoll's  “acrobatic  pigmy”  has  just  finished  con¬ 
tract  for  Mr.  Maurice  Elvey’s  “The  Sign  of  Four.’’ 
Will  challenge — for  ^100 — any  dwarf  4  ft.  in 
height,  to  come  forward  with  greater  nerve  and 
dramatic  powers  to  perform  any  adventuresome 
“  stunt.” 

If  challenge  is  not  accepted  within  3  months,  I 
claim  to  be  the  world’s  greatest  adventursome 
hunchback  Pigmy. 

Communications  to — 

28a,  Danehurst  Street,  Fulham,  S.W .6- 


WILLIE 

DAVIES 

KINEMA  ART  EXPERT, 

161a,  HIGH  STREET, 
KENSINGTON,  S.W. 

Latest  Super  Productions  : — 

u  Carnival.”  ‘‘  Bohemian  Girl.” 
“  Love  in  a  Whirlwind.” 


2 


THE  MOTION  PICTURE  STUDIO 


JANUARY  13,  I923 


Editorial  and 
Advertise¬ 
ment  Offices 
93.  Long  Acre, 
London,  W.C.2. 


Vol.  2  No.  84 


Telegrams— 
Southernwood, 
Rand,  London. 
Telephone — 
Gerrard  9870. 

Jan.  13,  1923 


The  Highbrow  Again. 

|  ’HERE  are  many  varieties  of  opponent 
with  whom  the  motion  picture  in¬ 
dustry  has  to  contend.  Prejudice  has  its 
basis  in  prudery,  in  vested  interest,  in 
absence  of  real  knowledge,  in  radiant  and 
impervious  stupidity,  and  in  double- 
distilled  highbrowism.  It  is  usually  per¬ 
fectly  honest  and  sincere.  Now  and 
again  one  encounters  the  individual  whose 
disapproval  of  the  screen  is  qualified.  He 
realises  that  it  has  unfortunately  come  to 
stay,  but  declares  that  its  proper  sphere 
should  be  the  presentation  of  fact  and  not 
of  fiction,  on  the  assumption  that  the  silent 
sheet  is — for  some  obscure  reason — an 
illegitimate  medium  for  the  expression  of  the 

human  imagination. 

*  *  * 

Abolish  Photoplays ! 

is  this  particular  type  of  reasoner  with 
whom  we,  as  representing  those  whose 
livelihood  depends  on  the  film  play,  are 
chiefly  concerned.  Critics  such  as  Mr. 
Edward  Shanks — with  whom  we  are 
dealing  on  another  page — would  like  to  see 
the  abolition  of  the  film  actor  and  actress 
entirely,  and  apparently  are  in  favour  of 
heir  earning  their  bread-and-butter  in 
some  other  walk  of  life.  (Incidentally, 
many  of  the  players  themselves  would  prefer 
this — but  that  is  by  the  way.)  Mr.  Thomas 
Burke,  in  spite  of  the  fees  from  ”  Broken 
Blossoms,”  has  lumped  all  film  players 
together  under  the  head  of  “  simpering 
acrobats  ” — hardly  a  complimentary  ex¬ 
pression  to  apply  to  the  eminent  stage  folk 
of  both  continents  who  have  added  screen 

fame  to  their  footlight  laurels. 

*  *  * 

Masterpieces  Only? 

*  I  ’HE  basis  for  much  of  this  carping 

A  would  appear  to  be  the  undoubted 
fact  that  the  highly  cultivated  literary  man 
who  visits  the  average  kinema  sees,  like 
everybody  else,  far  too  large  a  proportion 
of  contemptible  rubbish.  Until  theatres 
specialise,  this  will  always  be  the  case — 
just  as  the  sales  of  “  Deadwood  Dick  ”  and 
”  Home  Tosh  ”  on  the  railway  bookstall 
exceed  those  of  the  poems  and  novels  of 
Mr.  Shanks  and  Mr.  Burke.  Perhaps 
these  gentlemen  will  realise  some  day — as 
most  authors  have  already  done — that  as 
brilliant  creative  work  is  to  be  found  in 
the  kinema  field  as  in  other  departments  of 
story-expression.  We  do  not  expect — 
nor  claim — that  every  film  should  be  a 
masterpiece.  Most  people  see  films  in 
the  same  spirit  in  which  they  read  a 


magazine  story,  and,  indeed,  the  intellec¬ 
tual  gradings  of  both  forms  of  story-telling 

are  on  scales  that  practically  correspond. 

*  *  * 

Sun  and  Studio. 

•y  he  traditionally  bad  weather  of  this 
country  is,  in  spite  of  those  who 
gladly  make  it  an  occasional  excuse  to  cover 
their  own  shortcomings,  not  the  serious 
obstacle  to  picture  production  that  many 
people  imagine.  No  one  seriously  con¬ 
tends  that  it  can  compete  with  California, 
however,  and  it  often  seems  strange  to  us 
that  productions  are  not  more  often 
scheduled  according  to  season.  For  in¬ 
stance,  those  pictures  which  are  nearly  all 
interiors  seem  to  be  too  frequently  “  shot  ” 
in  the  summer  months,  and  outdoor 
pictures  are  often  delayed  by  their  being 

*j  Last  week’s  issue  of 
“  The  Motion  Picture 

Studio  ”  was - 

SOLD  OUT 
within  48  hours  of 
publication. 

Moral :  Order  your 
copy  in  advance  to 
obviate  disappointment 
— or  better  still,  become 
a  Subscriber.  You  can¬ 
not  afford  to  miss  the 
only  Studio  journal  of 
the  British  Industry. 

made  at  the  wrong  time  of  the  year.  We 
admit  that  there  is  too  often  no  choice  in 
the  matter,  but  the  result  must  inevitably 
be  a  waste  in  the  one  instance  of  sunshine, 
and,  in  the  other,  of  money.  The  small 
producing  unit  is  less  to  blame  in  this 
respect  than  the  large  firm,  which  can,  by  a 
little  care,  -arrange  its  producing  program 
in  accordance  with  the  seasons.  In  spite 
of  the  clerk  of  the  weather’s  pranks,  the 
varieties  of  weather  in  England  still  have  a 

rough  relation  to  the  almanac. 

*  *  * 

The  “  Kinema  Sense.” 

TAR.  C.  W.  KIMMINS  has  discovered 
that  the  intelligence  of  children 
appears  to  have  been  increased  by  films, 
inasmuch  as  the  adult  members  of  the 
Kinema  Commission  who  visited  theatres 
had  far  greater  difficulty  in  following  the 
story  than  had  the  children.  The  Daily 


News,  in  commenting,  says  :  “  Most  of 
us  know  well  what  Dr.  Kimmins  means. 
How  many  adults  with  what  President 
Hardmg  calls  a  normalcy  ’  of  intelligence 
have  gone  to  the  picture-houses  without 
ever  experiencing  that  sense  of  irritated 
bewilderment  which  is  produced  by  the 
sudden  changes  of  scene  and  the  enormons 
cuts  that  often  reduce  the  pictorial  story  to 
apparent  chaos  ?  But  we  do  not  think 
the  kinema  sense  should  be  given  a  really 
high  place  among  the  super-subtle  senses. 
You  have  to  grow  down  and  not  up  to  it. 
What  baffles  the  adult  of  cultivated  in¬ 
telligence  until  he  has  become  accustomed 
to  the  new  technique  is  the  psychological 
crudity  of  these  mutilations  which  the 
average  child  happily  does  not  bother  his 
head  about.  They  represent  little  more 
than  a  brutal  application  of  the  familiar 
literary  device  of  the  three  stars.  The 
three  stars,  or  any  number  of  them,  are 
on  the  whole  less  provocative.  At  least 

you  can  see  them.” 

*  *  * 

The  Real  Reason. 

Y^ERTAINLY  the  stars  above  these 
words  are  less  provocative — and  we 
are  tempted  to  say,  less  irritating — than 
many  “  stars  ”  !  But  our  contemporary 
should  know  by  this  time  that  the  crudity 
complained  of  is,  so  far  from  being  a  part 
of  technique,  simply  evidence  of  bad  cutting 
— and  bad  continuity — two  evils  which 
are  doing  incalculable  harm  to  every  end 
of  the  industry — and  much  damage  to 
the  reputations  of  film  artistes,  who  are 
often  actually  blamed  by  the  uncritical 

for  the  very  defects  which  spoil  their  work. 
*  *  * 

Limelight. 

'  I  ’HE  famous  film-player,  by  virtue  of 
being  seen  all  over  the  globe  on  the 
screen,  has  a  fame  that  transcends  that  of 
the  monarch,  the  statesman  or  the  giant 
of  commerce.  This  fact  gives  dispropor¬ 
tionate  prominence  to  any  lapse  from 
rectitude,  and  it  is  therefore  perhaps  not 
very  surprising  that  the  occasional  revela¬ 
tion  of  the  turpitude  of  a  screen  notability 
tends  to  create  the  deplorable  impression 
in  the  public  mind  that  all  those  in  our 
industry  should  be  regarded  with  suspicion. 
We  desire  to  whitewash  nobody,  nor  to 
claim  the  nauseating  excuse  of  “  tempera¬ 
ment.”  At  the  same  time,  the  ordinary 
man  found  guilty  of  drug-taking,  im¬ 
morality  or  any  vicious  delinquency  does 
not,  as  a  rule,  have  half-columns  of  scandal, 
with  portrait  block,  in  every  newspaper. 


3 


the  motion  picture  studio 


January  13,  1923 


9pvpral  Directors  have  explained  to  us  the  difficulty 
fhey  have  of Tetting  quickly  into  touch  with  artistes 
and  others  whom  they  need  for  then  productions,  and 
have  suggested  that  we  publish  addresses  and  .elephone 
numbers  of  such. 


ASHTON,  CHARLES,  Crantock,  Hainault 
Road,  Leytonstone,  E.,  or  Kinema  Club. 

ATWOOD,  ALBAN :  25,  Stanley  Crescent, 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.ii.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercorn  Place,  N.W. 
Hampstead  3083. 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John's 
Wood,  N.W. 8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

CAREW,  JAMES,  15,  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3904 

CHESNEY,  ELIZABETH  :  c/o  Miss  Morris, 
25,  Clevedon  Gardens,  W.2.  (Flat  4). 
Padd.  5844. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
RedclifFe  Gardens,  S;W.  10  'Phone: 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnysidc 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.i  1.  Park  2077. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

GRACE,  ADELAIDE,  103,  Morshead 
Mansions,  Maida  Vale,  W.  9. 

GRAFTON,  GEORGE  :  289,  Scott  Ellis 

Gardens.  St.  John’s  Wood,  N.W7. 
Paddington  6928. 

GREGORY,  FRANK,  Character ,  107,  St. 
Alban's  Avenue,  W.4. 

HARRIS,  GEORGE,  33,  Torrington  Square, 
W.C.l. 

HOPE,  MARGARET,  Character  and  Juvenile 
Leads.  Late  Ideal,  Masters,  Stolls,  etc., 
etc.,  5,  Balcombe  Street,  Dorset  Square, 
N.W.i.  Padd.  2284. 

HOWARD,  LIONELLE  :  108,  Alderbrook 
Road,  Balham,  S.W.  12. 

JONES,  T.  ARTHUR:  “High  Tor,” 
Summer  Road,  Hampton  Court. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  630. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977. 

NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

PAXTON,  SYDNEY  :  28,  Bedford  Place, 
Russell  Square,  W.C.  Museum,  7235. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell,  S.E.5. 


RAYNER,  MINNIE:  Kingwater  Cottage. 
Church  Walk,  Thames  Ditton. 

RAYNOR,  ALBERT  E.,  “Strathmore,” 
Spencer  Road,  Chiswick,  W.4. 

ROME,  STEWART  :  io,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  32.  Lauderdale  Mans. 
Maida  Vale.  Maida  Vale  2177. 

SHEE,  FLORENCE:  221,  Elgin  Avenue. 
W.9.  Paddington  6036. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL  :  15,  Grove 

Mansions,  North  Side,  Clapham  Com¬ 
mon  12.  Latchmere  4343. 

STEERMAN  A.  HARDING  :  56  Portland 
Road,  W.i  1.  Park  2529. 

STERROLL,  GERTRUDE :  14,  Queen's 

Road  St.  John’s  Wood,  N.W.8. 

TEMPLETON,  BEATRIX:  20,  Foxglove 
Street,  Wormholt  Estate,  W.12. 

THATCHER,  GEORGE:  33,  Denbigh 
Street,  Belgrave  Road,  S.W.  Victoria 
2060. 

TOD  MALCOLM,  The  Kinema  Club,  9, 
Gt.  Newport  St.,  W.C. 2. 

TREE,  MADGE  :  15,  Lancaster  Court,  New¬ 
man  St.,  W.i.  Museum  7241. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 
630. 

WALCOTT,  ARTHUR  :  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  630. 

WILLIS,  HUBERT,  Mrs.,  29,  St.  Peter's 
Square,  W.6.  Hammersmith  85. 

YORK,  CECIL  MORTON  :  Kinema  Club, 
9,  Great  Newport  Street.  Regent  630. 

Two  lines,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a  year,  prepaid. 

Extra  lines,  is.  per  insertion. 


“  'yHE  most  useful  column,  to  my  mind, 
and  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  is  ‘Who’s 
Where.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.” 

CHALLIS  N.  SANDERSON. 

T  PERSONALLY  would  like  to  see 
more  artistes  using  vour  space  under 
the  heading  of  ‘  Who’s  Where.’  ” 

H.  B.  PARKINSON. 
“  HTHE  column  which  is  of  most  service 
to  us,  and  which  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  ” 
NORMAN  WALKER  (Capt.),  Alliance  Films. 


To  Kinema  Club  Members  and  others-— 

PICTURE  POSTCARDS 
— - SUPPLIED - 

From  your  own  Photo,  in  best  glossy  style  : — 


One  position,  per  gross  --  -  -  -17/6 

Two  positions,  Half  gross  of  each  -  30/- 

Single  dozen  .  . . 3/6 

Enlargements,  each  ------  10/6 


Samples  can  be  seen  at 
THE  PICTURE  SALON, 
88,  Long  Acre,  W.C.2. 


The  Vade  Mecum  of 
the  Film  Business: — 


THE 

KINE 

YEAR 

BOOK 


1923  Issue  ready  shortly 


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PRICE  FIVE  SHILLINGS. 


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WORLD 
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4 


January  13,  1923 


THE  MOTION  PICTURE  STUDIO 


High 

Intimate  Studio 


L  ig  h  ts 

and  Club  Gossip 


Rex  Ingram  will  arrive  in  England  in 
about  a  fortnight,  and  may  appear 
at  the  premiere  of  his  newest  picture, 

“  The  Prisoner  of  Zenda,”  at  the 
Palace  Theatre.  The  cordial  wishes 
and  heartiest  greetings  from  the 
Industry  await  this  brilliant  young 
Englishman,  who  at  the  age  of 
twenty-nine  has  so  rapidly  won  by 
sheer  genius  such  an  eminent  place 
among  the  giants  of  filmdom.  Alice 
Terry,  his  wife  and  leading  ladly  in 
most  of  his  great  films,  will  accompany 
him. 

*  *  * 

Stewart  Rome,  according  to  a  brief 

line  from  Berlin,  hopes  to  be  back 

this  week-end.  Unlike  Madge  Stuart, 

he  finds  things  far  from  dull  in  the 

city  of  the  Spree — except  the  picture 

theatres',  which  he  assures  me  are  for 

the  most  part  extremely  boring. 

*  *  * 

Richard  Garrick,  formerly  associated 
in  this  country  with  Gaumont  and 
Broadwest,  writes  me  in  a  breezy 
strain  from  Rome,  where  he  is  pro¬ 
ducing  a  picture  from  a  scenario  of  his 
own.  He  finds  everybody  most  help>- 
ful.  With  Garrick  are  Phil  Ross  and 
Risi,  two  cameramen  who  were  with 
him  at  Walthamstow  two  years  ago. 
After  the  oicture  is  completed,  Garrick 
contemplates  a  short  trip  to  the  States 
to  get  up-to-date,  as  he  puts  it.  His 
leading  lady  is  Yacinthe,  a  young  and 
beautiful  dancer  of  international 
repute,  who  has  already  appeared  in 
two  films. 

*  *  * 

The  ends  of  the  earth  seem  to  be 
explored  by  the  modern  British 
producer.  A  new  six-reeler  is  now 
being  assembled  for  Baron  Films,  viz., 
“  A  White  Barbarian,”  featuring 
Herbert  Leonard  and  Leal  Douglas. 

The  entire  picture,  which  Herbert 
Leonard  directed,  was  “shot”  in 
Central  Africa  last  year — a  territory 
usually  associated  with  shooting  of 

quite  a  different  kind. 

*  *  '  * 

I  had  an  illuminating  chat  this  week 
with  Langhorne  Burton,  who,  look¬ 
ing  fit  and  well,  ,  has  just  returned  to 
this  country  after  several  months’ 
work  in  the  States  over  a  wide  area. 
He  found  time  in  the  midst  of  his  con¬ 
stant  •  work  to  visit  many  of  the 
Eastern  studios,  including  the  Famous 
Players-Lasky,  Fox,  Cosmopolitan  and 
Biograph.  Among  those  he  met  were 


Tom  Geraghty,  Harry  Millarde,  David  I 
Powell  and  Elsie  Ferguson.  Millarde 
was  shooting  his  final  scenes  for  “If 
Winter  Comes.”  Rex  Ingram’s 
“  Prisoner  of  Zenda,”  he  declares,  has 
set  America  by  the  ears.  At  the  time 
of  his  visits  the  studios  on  the  Atlantic 
side  were  beginning  to  grow  active 
after  a  protracted  spell  of  comparative 
stagnation. 

*  *  * 

Adrian  Brunei,  just  back  from  Berlin, 

encountered  me  almost  on  his 
arrival.  “The  Man  Without  Desire  ” 
has  been  completed  and  is  now  being 
edited  for  early  Trade  exhibition. 
Scenes  have  been  taken  in  Venice, 
Berlin  and  Loudon.  Its  international 

character  may  be  judged  from  the  fact 
that  although  Ivor  Novel  lo,  an 
Englishman — or  should  we  say  a 
Welshman? — is  the  star,  the  villain  is 
played  by  an  Italian  actor,  the  leading 
lady  is  Russian,  and  other  parts  have 
been  enacted  by  natives  of  Italy, 
Czechoi-Slovakia,  Germany  and 
Belgium. 

*  *  * 

Brunei  confirms  George  Dewhurst’s 
reports  on  German  filming  condi¬ 
tions,  the  main  advantage  of  which  to 
the  alien  producer  lies  in  the  superior 
organisation  rather  than  in  the  rate  of 
exchange.  The  technical  efficiency  of 
the  Teuton  is  apparently  very  marked; 
and  the  operations  of  the  visitors  were 
studied  with  the  closest  attention. 


NEXT  WEEK’S 
TRADE  SHOWS 

GRAHAM- WILCOX 
“Paddy — the  Next  Best 
Thing.” 

From  Gertrude  Page’s  story. 
Directed  by  Graham  Cutts. 
Photographed  by  Rene  Guissart. 

Leading  players  : 

Mae  Marsh,  Nina  Boucicault,  Hal- 
dee  Wright,  Darby  Foster,  George 
K.  Arthur,  Marie  Wright,  Lillian 
Douglas,  Tom  Coventry,  Simdon 
Stuart. 

Trade  show  :  Alhambra,  W.,  Tues¬ 
day,  January  23,  at  11  a.m. 

BUTCHER-CARLTON 
“Rogues  of  the  Turf” 

From  John  F.  Preston’s  play, 
Directed  by  Wilfred  Noy. 

Trade  show  :  New  Gallery  Kinema, 
Thursday,  January  25,  at  11.30  a.m. 


Mbster  Films  has  now  vacated  the 
Teddington  Studios',  on  the  expiration 
of  the  lease  from  Meyrick  Milton,  and 
possession  consequently  has  reverted 
to  Mr.  Milton,  whoi  is  making  consider¬ 
able  structural  alterations  which  will 
take  some  little  time.  There  should, 
however,  be  noi  misconception  as  to 
the  future  of  Master  Films.  H.  B. 
Parkinson  has  many  and  varied  plans 
well  afoot  and  will  shortly  renew'  pro¬ 
ducing  activities  elsewhere.  The  new 
studio  has  not  yet  been  decided  upon. 
*  *  * 


Henry  Wilson,  who  prefers  to  be 

known  as  “  Mad  Wilson,’’  is  the 

“  acrobatic  pigmy  ”  whose  challenge 

appears  this  week.  He  plays  the  part 

of  the  stunted  Andaman  Islander  with 

a  hobby  of  killing  his  enemies  with 

poisoned  darts  through  a  blow-pipe  in 

“  The  Sign  of  Four.”  His  physical 

attributes  and  histrionic  intelligence 

should  establish  him  as  a  unique 

portrayer  of  such  grotesque  and 

sinister  parts.  A  wonderful  fall  from; 

a  skylight  down  a  flight  of  stairs 

alarmed  everybody  at  Stoll’s  the  other 

day — except  Wilson  himself. 

*  *  * 


General  sympathy  will  be  extended  to 
Donald  Searle  who  is  incapacitated 
by  an  unlucky  accident  last  week. 
During  the  performance  of  Ci  Peter 
Pan  ”  at  the  St.  James’  Theatre  he 
fell  from  a  height  on  to  the  stage, 
injuring  his  knee.  He  pluck  ily  con¬ 
tinued  his  part  of  Slightly,  but  has 
since  had  to  lay  up1 — a  withdrawal 
from  activity  which  must  be  especially 
irksome  to>  this  mercurial  little 
comedian. 

*  *  * 


TVY  hear  that  Lady  Diana  .Manners’ 
pet  terrier  spoiled  an  impressive 
death  scene  in  “  The  Virgin  Queen  ” 
by  jumping  on  to  the  bed  and  barking. 
The  scene  had  to  be  re-shot,  of  course, 
and  the  offending  dog  securely  tied  up1. 
Under  such  circumstances  we  can 
imagine  Mr.  Blackton’s  unruffled 
patience  would  be  a  contrast  to  the 
behaviour  of  certain  other  directors  in 


/I 


similar  circumstances  ! 


THE  MOTION  PICTURE  STUDIO 


January  13,  1923 


SUN-LIGHT  ARC 
EQUIPMENT 


Mobile  lighting  equipments 
for  illuminating  interior 
or  exterior  locations  up 
to  150  H.P.  for  hire. 

Either  Sun-Light  Lamps, 
Broadsides  or  Spot 
Lamps  can  he  supplied. 


Specialists  in 

Modern  Studio  Lighting. 

61  &  62,  Berners  St., 

LONDON,  W.i. 

Telephone  :  Tele&ams : 

Museum  2860(3  lines).  Kathode,  London. 


DUNCAN 
WATSON  &  C° 


6 


January  13,  1923 


THE  MOTION  PICTURE  STUDIO 


The  Kinema  Put  in  Its  Place 

A  Pat  on  the  Head - or  is  it  a  Blow? 


4  ir  I  1  HE  kinematograph  has  been  much 
I  put  forward  as  a.  rival  to  the 
drama ;  and  I  have  always 
maintained  that  its  true  function  is 
not  this  but  the  literal  repro¬ 
duction  of  actual  fact.  Tragedies  and 

comedies  can  be  presented  on  the  screen. 
We  can  thus  get  some  satisfaction  of  our 
aesthetic  desires.  We  can  thus  get  them 
very  cheaply.  And  is  that  all?  I  incline 
to  the  conclusion  that  it  is.  A  dramatic 
situation  cannot  be  carried  through  on 
the  film  without  expedients  that  could  be 
better  dealt  with  in  another  wav.” 

Thus  Edward  Shanks  in  a  recent  lauda¬ 
tory  notice  of  the  Mount  Everest  film.  He 
contends  that  the  film  cannot  give  more 
than  an  extended  realisation  of  facts,  and 
that  the  modifications  to  a  story  which  it 
alone  can  portray  are  in  the  end  trifling. 
It  can  record  with  remarkable  success  the 
characteristic  achievements  of  our  age. 
No  scientific  illustration  which  calls  for 
the  use  of  the  moving  picture  camera 
should  be  dispensed  with ;  and  in  this 
sphere  it  is  a  natural  development  of  con¬ 
temporary  registration  of  events  that  will 
be  valuable  to  posterity. 

“  But  when  it  rivals  the  theatre  it  seems 
to  me  to  be  a  transitory  and  vulnerable 
■consequence  of  what  is  weakest  and  most 
detestable  in  our  age.  It  is  a  substitute 
which  is  mentally  easier  and  financially 
cheaper.  Perhaps  in  other  articles  I  have 
exaggerated  the  importance  of  its  easi¬ 
ness.  In  most  picture  houses  one  can 
always  get  a  seat.  One  does  not  expect 
much  in  the  way  of  entertainment,  and 
one  gets  very  little.  One  certainly  gets 
nothing  that  one  needs  distress 
oneself  about.  It  does  not  matter 
if  one  gets  in  late;  it  does  not 
matter  if  one  comes  away  early.  And 
this  is  the  real  case  against  the  Silent 
D  rama.  It  performs  the  same  function  as 
the  spoken  drama  but  with  infinitely  less 
acuteness  of  appeal.  It  stays  the  hunger 
of  the  mind  without  nourishing  the  mind. 
And  it  will  last  only  so  long  as  the 
peculiar  and  unhealthy  conditions  which 
•engender  it.” 

This  point  of  view,  coming  from  a  clever 
and  rising  young  writer  such  as  Mr. 
Shanks,  is  worthy  of  the  special  attention 
of  all  who  possess  an  interest  (both 
material  and  creative)  in  the  film  that 
tells  a  narrative.  It  amounts  to  a  rejec 
tion  of  the  film  as  a  means  of  story¬ 
telling,  on  grounds  that  appear  to  us  in¬ 
sufficient  and  unconvincing.  We  have 
neard  a  similar  view  expressed  from  other 
isolated  quarters.  The  reason  it  is  held 
is  undoubtedly  because  those  who  com¬ 
plain  in  this  strain  have  never  seen  a  film 
play  that  satisfied  them.  Is  this  because 
they  have  seen  so  few  films?  They  would 
•certainly  reply  that  they  have  seen  a  large 
number  of  bad  films ;  but  then  so  have 
all  of  us. 

It  is  no  use  urging  that  most  of  the 
eminent  figures  in  the  world  of  letters  see 
incalculable  possibilities  in  the  film-story. 
This  very  fact  would  probably  be  seized 
upon  as  confirmation  by  the  ultra-modern 
young  writer,  whose  contempt  for  the 
great  personalities  of  his  own  craft  is 
almost  symptomatic.  He  will  flatly  say 


that  stories  should  not  be  told  by  pictures 
in  motion. 

Does  he  object  to  the  great  paintings 
that  tell  stories?  He  probably  appreciates 
them.  Does  he  appreciate  the  continuity 
expressed  in  Hogarth’s  various  series? 
Are  not  these  succession  of  pictures? 
Where  is  the  line  to  be  drawn?  One  of 
the  cardinal  mistakes  of  this  attitude  is 
the  gratuitous  assumption  that  the  kinema 
is  trying  to  supplant  the  theatre,  and 
partly  succeeding. 

“  But  the  film  has  come  and  has  settled 
itself  upon  us.  It  is  a  serious,  if  an  un¬ 
worthy,  rival  to  the  theatre.  This  is  a 
question  that  must  be  dealt  with 
seriously.  The  theatre  is  assailed 
by  all  manner  of  enemies,  some 
internal  and,  apparently,  necessary, 
some  external  and,  apparently,  sent 
against  it  purely  by  accident.  My  own 
deliberate  opinion  is  that  the  theatre  must 
not  yield  too  easily,  either  to  obvious  cen¬ 
sure  or  to  the  competition  which  itself 
has  made  lamentably  too  easy.” 

If  the  theatre’s  shortcomings  were  really 
to  blame  for  the  popularity  of  the  kinema, 
surely  it  would  be  more  to  the  point  to 
mend  the  theatre  than  to  abuse  the  mov¬ 
ing  picture.  But'  the  play  that  is  really 
good  has  cause  to  complain  of  public 
apathy,  and  those  who  appreciate  the  lan¬ 
guage,  diction,  and  actual  personality  of 
the  actor  never  pretend  that  the  kinema 


“  rj^HE  that  motion  picture  films  are 
.  in  monochrome  by  no  means 

lessens  the  importance  of  right  colour 
from  the  director’s  and  camera-man’s 
point  of  view,”  said  “  Bax,”  who  has 
just  concluded  a  contract  for  J.  Stuart 
Blackton  on  the  important  costume  play 
“  The  Virgin  Queen.” 

As  everyone  acquainted  with  the  tech¬ 
nical  side  of  film  production  knows,  it  is 
essential  that  the  colours  of  sets  and  cos¬ 
tumes  should  be  such  that  the  monochro¬ 
matic  tones  they  produce  are  satisfactory. 
\  considerable  amount  of  research  has 
been  done  in  the  direction  of  devising 
means  for  ensuring  right  colour  from  the 
photographic  point  of  view,  and,  perhaps, 
the  most  interesting  work  has  been  done 
by  “  Bax.” 

“  At  present  the  majority  of  camera¬ 
men  and  producers  attempt  to  arrive  at  an 
estimate  of  tone  by  looking  through 
tinted  light  screens,  but  this  is  at  best  a 
makeshift.  I  have  made  a  study  of  colour 
from  the  photographic  point  of  view,  and 
my  work  is  based  upon  exact  knowledge 
of  tone  values.  Its  most  important  de¬ 
velopment  is,  perhaps,  my  method  of 
painting  costumes,  which  will  appeal  to 
producers  from  the  economic  standpoint 
It  is  obvious,  for  example,  that  great  diffi¬ 
culty  is  often  found  in  the  case  of  period 
dresses  and  costumes  in  obtaining  not  c-nly 
the  correct  design,  but  the  correct  colour 
from  the  photographic  tone  point  of  view. 

“  Even  if  the  dress  is  found  it  is  all 


can  ever  be  a  substitute  for  the  spoken 
drama. 

But  the  kinema  drama  has  potentialities 
of  time,  space,  setting  and  change  which 
can  fairly  be  called  advantages  over  the 
novel  and  the  stage.  Why  should  these 
devices — which  are  largely  a  substitute  for 
the  spoken  and  printed  word— be  con¬ 
sidered  inferior  to  those  of  the  novel  and 
the  footlights? 

The  argument  of  those  who  protest 
against  the  film-play  as  such  always  ap¬ 
pears  to  be  that  the  film’s  devices  are  in¬ 
artistic  and  in  some  wav  illegitimate;  but 
no  reasons  for  dogmatising  this  ever  seem 
to  be  adduced. 

The  present  attitude  of  the  superior 
literary  critic  towards  pictures  resembles 
that  of  a  man  wrho  reads  the  first  four  or 
five  books  on  the  shelves  of  a  Bloomsbury 
boarding-house  and  then  writes  an  article 
on  the  .contemptible  condition  of  -  the 
modern  novel,  declaring  that  modern 
libraries  would  be  admirable  if  all  the 
fiction  were  eliminated  in  favour  of  books 
on  exploration  and  bee-culture. 

Fortunately  the  voice  of  the  anti-film 
highbrow  is  audible  chiefly  by  reason  of 
its  isolation.  Most  serious  students  of 
films  realise  that  there  is  much  room  for 
improvement  in  the  art — or  business — of 
story-telling  by  the  screen  ;  and  the  faith 
of  these  is  not  to  be  shaken  by  those 
whose  prejudice  is  destructive  of  their 
sense  of  proportion. 


too  likely  that  the  colour  values  of  an  age 
which  did  not  know  photography  will 
not  be  suitable  for  the  film  medium.  I, 
therefore,  design  the  dresses  in  the  proper 
style,  and  then  paint  them  in  correct  pat¬ 
terns,  but  only  using  colour  values  which 
will  suit  the  purposes  of  the  screen.  The 
cost  is  the  same,  and  the  producer  ensures 
that  he  not  only  gets  the  right  design, 
but  the  right  tones  as  well.” 

Movement  and  form  are  naturally  the 
greatest  elements  in  the  film  medium,  but 
colour  must  not  be  neglected.  Here  is 
where  an  artist  like  “  Bax  ”  becomes  so 
essential,  for  the  camera-man  and  the 
artist  have  essentially  the  same  problem 
to  solve,  even  though  the  latter  apparently 
works  in  monotone 

“  In  the  case  of  natural  colour  films,” 
he  continued,  “  painted  materials  can,  bv 
means  of  experiment,  be  made  to  give  the 
colours  and  tones  desired.  Light  and 
dark  tones  of  the  same  colour  on  differenl 
classes  of  fabric  come  out  in  entirely  cl i  1 
ferent  colours  on  the  screen.  This  can  be 
avoided  by  my  methods.  The  artist,  for 
the  sake  of  both  economy  and  effect, 
should  design  and  paint  the  material-  Bv 
this  means  he  can  bring  all  his  artistic 
ability  to  bear  on  getting  the  desired,  re¬ 
sults  and  creating  the  desired  impression 
For  it  is  the  artist  who  lives  by  means 
of  translating  his  impressions  on  to  canvas 
or  paper,  and  who  thinks  and  sees  in 
light  and  shade.  His  art  training,  there¬ 
fore,  fits  him  to  undertake  this  work  with 
the  producer.” 


Colour  Values  in  Photography 

Interview  with  “  Bax  ” 


7 


THE  MOTION  PICTURE  STUDIO 


January  13,  1923 


Why  Not  a 

Let  All 


“ W ash-outs  ”  Association  ? 

Incompetents  Come  Into  Line  ! 


XYONE  who  has  tried  to  organise 
either  the  whole  film  industry  or  any 
section  or  side  of  it  soon  discovers  that 
circumstances  make  any  concerted  effort 
a  dream  of  the  millennium  rather  than  a 
practical  possibility  of  the  present.  The 
mere  question  of  qualification  presents,  as 
far  as  those  on  the  production  side  are 
concerned,  annoying  and  arresting  diffi¬ 
culties.  What  is  a  film  artiste?  What 
is  a  producer,  an  assistant,  an  art  direc¬ 
tor,  a  casting  director?  A  committee 
composed  of  Sherlock  Holmes,  the  prophet 
Job,  King  Bruce  and  Mark  Tapley  might 
arrive  at  some  satisfactory  definitions;  but 
I  am  not  sure.  The  time,  I  fear,  is  not 
yet  at  hand.  In  the  meantime,  why  not 
form  a  powerful  federation  composed  ex¬ 
clusively  of  those  whose  attainments  are 
in  a  sense  negative' — those  who  have  well 
and  truly  earned  the  crude  but  graphic 
description  of  “dud  ”? 

Naturally,  it  would  be  highly  necessary 
to  stem  the  rush  of  prospective  members 
by  limiting  their  numbers  ;  and  here  would 


come  in  the  searching  qualification  tests. 
I  have  drawn  up  a  rough  outline  of  them, 
and  submit  them  in  all  diffidence  as  a 
working  basis  : — 

(1)  'the  Wash-outs’  Association  shall 
consist  entirely  of  those  who  have  proved 
that  they  have  damaged  the  prestige  of 
British  motion  picture  production. 

(2)  Producers  are  not  eligible  unless  at 
least  80  per  cent,  of  the  pictures  they  have 
made  have  either  been  scrapped,  put  on 
the  shelf,  or  suspended  during  production. 
A  film  put  out  which  does  not  get  a  single 
booking  counts  as  two  pictures  scrapped  or 
shelved. 

(3)  A  producer  who  makes  a  successful 
picture  after  joining  the  Association  shall 
be  warned,  and  on  repeating  the  offence, 
shall  be  expelled. 

(4)  No  film  artistes  are  eligible,  except  : 
(a)  Those  who  can  prove  that  their  success 
is  in  no  wav  due  to  personal  merit ;  (b) 
those  whose  parts  have  been  cut  com¬ 
pletely  out  of  at  least  six  pictures ;  (c) 
those  who  can  furnish  certificates  from  six 


or  more  producers,  testifying  to  their  being 
nuisances,  unreliable,  and  unintelligent ; 
together  with  verbatim  transcriptions  of 
the  language  employed  to  them  on  the 
floor  by  those  in  authority. 

(5)  Membership  shall  extend  to  amateurs 
who  have  wasted  money  on  the  film  busi¬ 
ness.  Candidates  for  the  Committee 
nominations  must  have  wasted  at  least 
,£50,000  in  one  particular  year,  and,  of 
course,  are  not  limited  to  amateurs. 
Society  people  doing  films  as  a  hobby  are 
eligible  automatically. 

(6)  Special  claims  to  eligibility  will 
always  be  considered,  and  should  be  ac¬ 
companied  by  bad  Press  notices,  reports 
of  criminal  proceedings  concerning  the 
candidate,  or  evidence  of  doubtful  charac¬ 
ter  and  habits.  Talking  abilities,  and 
generally  impressive  appearance  of  a*  de¬ 
ceptive  kind  are  always  taken  into 
account. 

(7)  Producers,  scenarists  and  film- 
mutilators  may  be  requested  to  satisfy  the 
Selection  Committee  thev  can  spoil  a  good 
st'orv.  The  author’s  recognition  of  his 
original  narrative,  or  the  comprehension 
of  the  finished  film  by  an  average  kinema- 
goer,  shall  invalidate  such  candidates  for 
election. 

(8)  Responsible  heads  of  producing  firms 
will  be  required  to  tabulate  at  least  five 
distinct  ways  of  defrauding  small-part'  and 
crowd  workers  out  of  their  just  dues,  and 
to  show  evidence  of  their  systematic  use 
of  such  methods. 

(9)  No  agents  will  be  eligible  unless  they 
can  establish  a  long  record  of  corruption, 
including  refusal  of  their  L.C.C.  licence 
at  least  twice. 

(10)  Promoters  of  film  schools  are  elig¬ 
ible  without  nomination,  but  one  prosecu¬ 
tion  is  the  minimum  allowed  for  qualifi¬ 
cation. 

( 1 1)  Special  ignorance  tests  for  camera¬ 
men  will  be  held,  and  membership  of  the 
K.C.S.  shall  disqualify. 

An  association  on  the  above  lines  is 
surely  much  overdue.  It  would  greatlv 
facilitate  the  activities  of  many  people  in 
our  business  if  they  had  opportunities  of 
personal  contact  ;  and  it  should  be  easv 
to  get  together  a  large  number  of  founder 
members.  The  greatest  advantage  of  all 
would,  of  course,  consist  of  the  prestige 
attaching  to  membership  of  the  Wash¬ 
outs’  Association,  which  fact  would  be  a 
guarantee  to  those  outside  it  of  the  real 
status  of  any  and  every  member. 


Peggy  Hyland  Married 

Fred  he  Ro  Granville  the  fortunate  Bridegroom 


npHE  nuptials  of  Peggy  Hyland  and  Fred 
I.e  Roy  Granville  took  place-  unobtru¬ 
sively  last  week,  and  the  congratulations  of 
the  entire  Industry  will  be  accorded  both  of 
them.  The  personal  esteem  in  which  they 
are  held  by  all  wrho  know  them  is  deep 
rooted,  and  we  join  the  rest  of  their  numer¬ 
ous  friends  in  wishing  them  health  and  pros¬ 
perity  in  a  partnership  which  is  at  once  a 
personal  and  a  business  one. 

Peggy  Hyland  and  Mr.  Granville  met  just 
over  three  years  ago  at  the  Fox  studios,  and 
have  been  working  together  ever  since  with 
such  excellent  results.  Mr.  Granville  has 
been  cameraman  to  Tom  Mix.  A  magnifi¬ 
cent  wolf-hound  he  brought  home  to  Cali¬ 
fornia  was  the  cause  of  their  becoming  ac¬ 
quainted  ;  her  admiration  for  the  dog,  how¬ 
ever,  did  not  -extend  to  his  master  at  first, 
because  he  called  the  animal  away,  to  her 
annoyance. 

Chance  brought  them  again  together  dur¬ 
ing  G.  B.  Samuelson’s  production  in  the 
States  of  “At  the  Mercy  of  Tiberius.’’  Their 
friendship  ripened  during  the  subsequent 
productions  in  England  of  “The  Honey  Pot” 
and  its  sequel,  “  Love  Maggy,”  and  especi¬ 
ally  in  the  course  of  Granville’s  triumphant 
success  “Shifting  Sands,”  which  lately  re¬ 
ceived  a  chorus  of  praise. 


In  spite  of  a  decided  Transatlantic  accent, 
Mr.  Granville  is  British.  He  was  born  in 
Victoria,  Australia,  and  has  spent  much  of 
his  life  in  the  various  lands  and  islands  of 
the  Pacific  Ocean.  He  first  arrived  in  Eng¬ 
land  in  1920,  and  soon  obtained  a  real  stand¬ 
ing  among  British  directors,  taking  com¬ 
panies  in  several  -cases  out  of  the  country 
for  foreign  locations.  He  has  ambitious 
plans  for  a  series  of  special  Granville  pic¬ 
tures,  of  which  “Shifting  Sands”  is  the 
first,  and  intends  to  utilise  as  far  as  pos¬ 
sible  only  British  screen  artistes. 

Peggy  Hyland  is  a  Birmingham  girl  who 
began  her  screen  career,  after  a  brief  appren¬ 
ticeship  on  the  stage,  in  1912.  In  her  first 
picture,  “The  Love  of  an  Actress,”  she  was 
thrown  into  the  Thames — an  experience 
which  nearly  caused  her  to  revert  to  less 
exacting  work.  Her  later  films  include  the 
Ideal  version  of  “  Caste.”  She  crossed  the 
Atlantic  to  work  for  Famous  Players,  Vita- 
graph  and  Fox,  returning  after  attaining 
much  popularity,  to  England  for  Samuelson. 
Latterly,  she  has  directed  a  series  of  come¬ 
dies,  in  which  she  is  starred.  She  is  an 
expert  cutter,  and  is  often  to  be  found  among 
the  endless  celluloid  ribbons  engaged  on  this 
important  side  of  picture  making. 


8 


January  13,  1923 


THE  MOTION  PICTURE  STUDIO 


History  and  Romance  Too 

New  B.  &.  C.  Series  of  Two-Reelers  Promise  Well 


KINEMA  CLUB 
NEWS 

^HE  annual  general  meeting  of  the 
club,  when  under  its  constitution 
thef  council  ^and  executive  officers  are 
elected,  is  fixed  for  Sunday,  January  21, 
and  will  be  held  in  the  club  itself  at  3 
pm.  All  members  are  earnestly  re¬ 
quested  to  attend,  as  the  business  to  be 
done  will  affect  their  interests  for  the 
next  twelve  months,  and  proposals  to 
modify  the  rules  will  be  open  for  discus¬ 
sion  and  decision. 

After  the  meeting,  an  old-time  concert 
has  been  arranged  for  the  evening,  when 
muster  will  thus  celebrate  the  first  mile- 
Sydney  Paxton  and  hred  Groves  will  act 
as  chairmen.  It  is  hoped  that  a  large 
some  attractive  “  turns  ”  are  promised, 
stone  in  the  history  of  the  club. 

During  its  twelve  months’  existence — at 
first  an  uncertain  one — the  club  has  grown 
in  power  and  developed  a  great  new  spirit 
among  all  the  workers  in  filmcraft.  New' 
members  are  constantly  joining  and  it  is 
becoming  more  and  more  a  recognise  l 
venue  where  sociability  and  comradeship 
have  brought  together  dozens  of  men  and 
w'omen  who  w’ould  certainly  never  have 
established  the  mutual  friendly  f  ,o-.ing 
existing  between  them  in  any  other  wav . 
Many  productions  have  been  cast  from  i vs 
active  members,  and  the  official  associa¬ 
tions  of  directors  and  cameramen  use  the 
premises  as  their  regular  meeting-place. 
Credit  and  honour  must  be  accorded  to 
ah  those  who  made  its  inception  a  real  he 
in  the  face  of  formidable  diffieulrv,  and 
especially  to  George  Ridgwell,  its;  *  hair- 
nan,  but  for  whom  the  club  would  pro¬ 
bably  not  have  weathered  the  steam. 

To-night  (Saturday)  the  club  kineco- 
paters  reappear  with  Malcolm  Tod  at  the 
drums,  in  his  most  destructive  mood1  at 
the  usual  Saturday  dance. 

Kinema  Club  Carnival 

The  Hotel  Cecil  will  be  very  crowded 
on  the  night  of  February  5,  and  the  earlv 
morning  of  the  6th.  The  Entertainments 
Committee  and  Billie  Bristow  are  dispos¬ 
ing  rapidly  of  the  tickets  at  25s.,  including 
supper.  The  public  should  flock  to  see 
every  British  film  star,  and  various 
“  stunts  ”  are  being  hatched.  Clarence 
W.  Green’s  Commodore  Band  has  been 
engaged,  and  some  striking  lighting  effects 
are  promised.  Tickets  may  be  obtained 
through  any  club  member,  at  the  club 
itself,  9,  Great  Newport  Street,  or  of  Miss 
Billie  Bristow,  175,  Wardour  Street 
(Gerrard  240),  who  asks  us  to  persuade 
everybody  wffio  can  give  prominence  to  a 
poster  to  apply  to  her  for  one  quickly. 


~\\ruE  FLIER  the  motion  picture  is  actu¬ 
ally  making  history  or  not,  there 
can  be  -no  doubt  that  it  is  recording  it. 
Many  of  the  traditional  and  current  ver¬ 
sions  of  English  history  are  accepted  as 
authentic  un)til  they  are  (copreoted  by 
another  age-  Screen  versions  of  historv 
have  the  advantage  of  being  criticised 
when  necessary  immediately  after  they  are 
made,  and  there  can  be  no  doubt  that 
authoritative  screen  versions  of  history  w fi  1 1 
)  one  of  these  days  be  a  feature  of  the 
archives  of  the  nation. 

The  B.  and  C.  Company  are  to  be  con¬ 
gratulated  on  their  enlisting  the  services 
of  Eliot  Stannard  and  Edwin  Greenwood, 
who-  are  jointly  responsible  for  the 
scenarios  and  direction  of  their  new  series 
of  two-reelers.  The  settings  are  in  vary¬ 
ing  periods  of  English  and  foreign  his¬ 
tory,  and  as  the  theme  of  each  centres 
round  a  woman,  they  are  not  likely  to 
be  “  dry  ”  tor  monotonous.  In  “  The 
Importance  of  Being  Earnest,”  one  of 
the  .characters  observes  that  even  the 
strongest  men  are  often  susceptible  to  the 
charms  of  the  fair.  Historv  is  full  of 
such  instances.  Indeed,  if  it  were  not  so, 
history  wbuld  be  quite  unreadable. 

Without  accepting  Wilde’s  cynicism, 
the  romantic  element  is  almost  an  indis¬ 
pensable  one  in  presenting  as  entertain¬ 
ment  (which  all  films  should  primarily 
be  if  they  are  put  before  the  general 
public),  phases  of  history.  “  Wonder 
Women  of  the  World  ”  should  therefore 
have  an  appeal  which  differs  in  some 
degree  from  any  previous  enterprise  on 
similar  lines. 

Behind  the  national  or  public  en¬ 
deavours  of  those  who  have  made  history 
is  hidden  the  personal  or  intimate  side 
of  their  characters,  which  while  often 
directly  influencing  their  public  careers, 
always  reveals  a  more  true  picture  of  the 
superman  than  when  he  is  consciously 
displaying  his  greatness  to  the  people. 

The  more  the  private  life  of  the  super¬ 
man  is  examined  the  more  obvious  be¬ 
comes  the  influence  of  the  wonder 
woman,  for,  as  though  instinctively  se¬ 
lecting  his  complement,  almost  every 
great  man  has  found  the  wonder  woman 
w'ho  is  to  raise  him  to  supremacy,  or 
hurl  him  lower  than  the  dust.  Nelson 
finds  an  Emma  Hamilton  from  whom  to 
/draw  courage  and  inspiration.  Mark 
Antonv  finds  a  Cleopatra  in  whose  arms 
to  forget  the  greatness  he  has  achieved. 

We  visited  the  Hoe  Street  studios  this 


week  and  were  impressed  with  the  mani¬ 
fest  sincerity  of  those  who  are  the  guiding 
spirits  in  this  series.  On  the  floor  we  en¬ 
countered  Russel  Thorndike,  as  Charles  I. 
a  role  which  has  recently  won  him 
added  prestige  on  the  West  ' End  stage, 
and  presently  saw  many  scenes  taken,  in 
which  Janet  Alexander,  as  his  unhappy 
Queen  Consort,  and  other  figures  of  his 
day,  lived  again  in  the  uncanny  beam  of 
mercury  vapour. 

Edwin  Godal  explained  the  scope  of  the 
series  to  us,  and  Eliot  Stannard  expressed 
his  enthusiasm  with  which  he  and  Edwin 
Greenwood  had  embarked  on  a  task  in¬ 
volving  an  -enormous  amount  of  literary 
research.  He  instanced  his  quest  for  a 
correct  notion  of  the  printing-press  used 
by  Marat  for  the  circulation  of  his  pamph¬ 
lets  which  helped  to  precipitate  the  French 
Revolution.  Endless  work  culminated  in 
the  discovery  of  a  book  in  the  British 
Museum,  and  permission  had  to  be  ob¬ 
tained  before  the  pages  could  be  cut. 
There  they  found  the  very  details  they 
wanted,  and  an  actual  illustration.  The 
information  o-f  the  Press’s  construction 
actually  inspired  a  dramatic  effect  to  be 
obtained  by  its  operation,  and  an  exact 
model,  with  replicas  of  the  pamphlet,  was 
at  the  present  studio.  He  felt  with  Mr. 
Godal  that  there  was  now  happily  a  ten¬ 
dency  to  regard  the  short  film  as  some¬ 
thing  more  than  a  cheap  unviewed  “  fill¬ 
up,”  and  anticipated  the  day  when  a 
feature  might  be  no  longer  than  two  reels. 

The  subjects  already  utilised  include 
eframas  centring  round  Madame  Recamier, 
Empress  Josephine,  Simonne  Evrard  and 
Charlotte  Uo-rday,  and  Henrietta,  the 
Queen  of  Sorrow.  Lady  Jane  Grey  and 
Lucrezia-  Borgia  will  form  the  basis  of 
others.  Many  Well-known  players  on 
stage  and  screen  are  being  starred.  In 
most  cases  the  woman’s  own  standpoint 
will  be  brought  out  sympathetically. 

History,  made  entertaining  by  emphasis¬ 
ing  its  human  side,  and  depicted  without 
distortion  by  -experts  whose  passion  for 
accuracy  in  setting  and  dress  is  almost 
an  obsession,  should  prove  a  welcome  in¬ 
novation  among  the  welter  of  stereotyped 
“  ffcaturqis,”  and  /we  /trust  that  their 
realisation  will  justify  the  enterprise  of 
the  B.  and  C-,  and  the  discriminating 
Regent  Film  Company  who  will  handle 
them. 

David  Wilson’s  sketches,  on  this  and 
the  previous  page,  show  what  it  looked 
like  to  him.  He  is  now  in  hiding! 


THE  MOTION  PICTURE  STUDIO 


January  13,  1923 


Cutting  and  Continuity 

by  ALMA  REVILLE 


HPHESE  two  very  important  branches 
of  the  film  business  have  been  sadly 
neglected,  and  it  seems  incredible  that 
such  necessary  items  should  be  continually 
overlooked. 

The  two  words  will  always  go  hand  in 
hand,  and  until  the  art  of  both  is 
thoroughly  mastered  we  will  still  have  to 
bear  with  “  that  long-drawn-out  film.” 
How  often  is  this  remark  passed  on  an 
otherwise  good  production  ? 

If  Mr.  Producer  would  give  just  a  little 
more  forethought  to  the  continuity  and 
cutting  of  his  production  before  commenc¬ 
ing  it — an d  keep'  these  two  words  continu¬ 
ally  in  his  mind  Whilst  -he  is  building  it 
up — how  much  worry  and  time  he  could 
save  in  the  cutting-room. 

There  is  an  art  and  technique  in  cutting 
which,  though  perhaps  not  noticeable:  to 
an  audience,  is  as  important  as  art  and 
technique  are  to  the  building  of  a  set. 

The  public,  who  are  now  taking  far 
greater  interest  in  the  production  of  films, 
know  there  is  something  wrong  with 
many  films.  They  are  so  long  and1  drawn 
out,  and  they  immediately  put  this  down 
to  bad  production,  whereas  in  all  prob¬ 
ability  a  careful  editing  and  cutting  would 
have  changed  their  opinion  completely. 


And  they  are  the  people  you  are  out  to 
please. 

And  is  this  so  very  difficult?  I  think 
not.  The  public,  especially  the  British 
public,  are  not  hard  to'  please,  and  they 
know  there  is  something  wrong  with 
British  films. 

If  producers  would  give  just  a  little 
more  time  and  forethought  to  continuity 
and  cutting,  whilst  they  are  making  their 
films,  they  would  not  overcome  this  slack¬ 
ness  only,  but  they  would  be  well  repaid 
by  the  results. 

In  my  opinion  i't  is  most  necessary  for 
any  producer  to  have  a  continuity  writer, 
who  has  an  experienced  knowledge  of  cut¬ 
ting,  working  continually  with  him  whilst 
on  production.  The  continuity  writer 
should1  know  the  script — backwards — and 
should  also'  ascertain  the  producer’s  plans 
of  shooting  it.  With  the  knowledge  of 
cutting  they  should  possess,  they  should 
be  able  to  warn  the  producer  of  the  many 
little  pitfalls  there  are  to  stumble  in  with 
regard  to  smooth  continuity. 

And  what  a  vast  difference  smooth  con¬ 
tinuity  of  action — good  matches,  small 
technical  details  too-  numerous  toi  mention 
■ — makes  to'  the  appearance  to'  a  finished 


Dewhurst  Returning 

British  Company  completes  Two  Films  in  Berlin 
English  Flappers  Unmatchab'e  ! 


Stewart  Rome,  Madge  Stuart  and  tl 
other  British  players  wno  have  been  work¬ 
ing  Berlin  during  the  past  few  weeks, 
Will  probably  have  arrived  'back  with 
Geo.  Dewhurst  by  the  time  these  lines 
appear. 

“  The  Uninvited  Guest  ”  has  been  quite 
completed,  and  awaits  assembly,  and 
“  What  the  Butler  Saw  ”  lacks  only  a  few 
British  exteriors. 


Dewhurst  suddenly  required  twb  young 
girls  to  play  English  flapper  parts  in 
“  What  the  Butler  Saw.”  Realising  the 
hopelessness  of  attempting  to  discover 
suitable  types  among  German  actresses, 
Re  quickly  wired  for  two  from  London  ! 

Cynthia  Murtagh  and  Winifred  Nelson 
left  at  once  for  Berlin,  and  are  returning 
with  the  remainder  of  the  company. 


production !  And  it  is  the  continuity 
writer  who  is  responsible  for  these. 

The  art  of  cutting  is  Art  indeed,  with 
a  capital  A,  and  is  of  far  greater  import¬ 
ance  than  is  generally  acknowledged-  It. 
is  more  than  a  mechanical  method  of 
eliminating  the  N.G.  takes  and  cutting  off 
the  numbers,  which,  unfortunately,  many 
consider  cutting. 

The  first  question  is  to'  ask  what  is 
the  most  essential  point  in  cutting?  The 
obvious  •  answer  is — smooth  continuity. 

There  are  so  many  pitfalls  into  which 
it  is  very  easy  to  slip  in  the  cutting  of  a 
picture.  For  a  start,  you  do  not  want  if 
to  drag,  therefore  you  must  “  snap  it  up 
a  little.”  Beware!  Make  it  “snappy” 
by  all  means,  give  your  audience  just 
enough  for  them  to  like  it  and  want  some 
more,  but  this  is  very  often  mistaken — 
and  results  in  a.  flashy  picture,  which 
looks  as  if  the  cutter  had  tried  to*  make 
his  film  resemble  the  illuminated  signs  in 
Piccadilly. 

The  next  most  important  point  is  the 
art  of  switching  on  your  new  camera 
angles,  until  it  is  impossible  to  detect  the 
change— it  is  unwise  to>  remind  your  audi¬ 
ence  they  are  viewing  a  picture  made  bv 
a  mechanical  machine.  This  also  applies 
to  the  close-up.  Avoid  giving  that  nasty 
jar  to  the  eyes,  which  is  always  a  source 
of  annoyance  to  the  audience-  Until  you 
have  overcome  this,  the  close-up,  however 
artistic  it  is,  will  never  be  fully  appre¬ 
ciated1  by  your  audience. 

These  apparently  small  details  in  cut¬ 
ting  make  such  a  difference  to  the  appear 
ance  of  the  finished  production,  and  are 
well  worth  a  little  extra  time  and  care 
spared  to  them. 

First  and  foremost,  keep  in,  your  mind 
throughout  the  whole  process  of  cutting — 
your  audience.  Try  and  see  your  film  as 
your  audience  will  see  it  for  the  first  time; 
follow  your  characters  and  continuity  as 
they  will  follow  it.  Remember  you  know 
your  picture — probably  backwards — they 
do  not ! 

An  enormous  amount  of  time  is  saved 
if  el  Ruinations  are  made  and  the  chosen 
takes  assembled  into'  a  rough  continuity 
as  the  production  is  progressing. 

Now  take  the  actual  cutting.  What  is 
the  chief  object  in  view?  To  keep  your 
picture  full  of  interest,  running  with  a 
smooth  continuity — but  i't  must  not  drag 
in  any  part.  How  often  is  “  flashing  ” 
employed  as  means  to  ‘‘snap  it  up”? 
Make  a  picture  “snappy,”  by  all  means, 
but  beware  of  the  very  great  difference 
between  a  “  snappy  ”  and  “  flashy  ”  one. 

The  next  most  important  point,  I  think, 
is  the  cutting  in  of  close-ups.  The  public 
are  not  very  fond  of  close-ups,  and  do  not 
always  appreciate  their  artistic  value.  Try, 
therefore,  to  let  them  see  them  without 
that  nasty  jump  and  strain  on  the  eye, 
and  they  will  enjoy  them  much  better. 

First  and  last,  the  chief  point  to  re¬ 
member  is  to  consider  your  audience,  see 
the  film  as  they  will  see  it  for  the  first 
time.  This  is  the  art  of  cutting,  which, 
until  ?t  is  more  thoroughly  mastered,  will 
prove  a  holdback  to  British  pictures’. 


10 


January  13,  1923 


THE  MOTION  PICTURE  STUDIO 


GEORGE  RIDGWELL  has  finished 
“  The  Blue  Carbuncle  ”  in  the  third 
two-reel  series  of  Sherlock  Holmes 
stories,  and  the  next  of  the  batch 
will  be  “  The  Gloria  Scott,”  “  The 
Speckled  Band,”  and  “Silver  Blaze.”  Eor 
these  latter  episodes  he  is  now  scouring  the 
land  for  an  old  wooden  frigate,  a  snake  that 
will  climb  ropes,  a  cheetah,  a  baboon,  and 
a  racehorse  that  can  act.  If  any  of  our 
readers  should  have  such  things  by  them, 
row  is  their  chance  to  len<J  them.  The 
director  promises  to  return  them  free  from 
damage,  defacement  or  moth,  and  will  be 
glad  to  hear,  at  Stoll's,  of  any  means  of 
getting  them,  as  the  great  department  stores 
appear  for  once  to  be  stumped. 

Constance  Collier’s  many  friends  will  hear 
with  regret  that  she  is  seriously  ill. 

Kenelm  Foss  has  now  returned  to  London 
from  Italy. 

George  Foley  has  been  playing  heavy  lead 
for  British  Productions  at  Hove. 

Robert  Laing  is  playing  in  “A  Royal 
Divorce  ”  for  Samuelson. 

Audrey  Ridgwell  has  a  part  in  the  coming 
Robey  revue  at  Covent  Garden  Opera  House. 

J.  G.  Kelly  is  assistant  to  Walter  West  at 
the  Ivew  Studios  in  “  The  Lady  Trainer.” 

Ralph  Forster  is  happily  recovered  from 
his  recent  severe  illness. 

Tom  Terriss  is  to  direct  a  big  picture 
for  Gaumont  based  on  a  play  by  Sir  Arthur 
Conan  Doyle. 

Gertrude  Sterroll  has  been  playing  for 
Granger-Binger  in  the  screen  version  lof 
Henry  Arthur  Jones’  “  The  Hypocrites.” 

Fred  Groves  is  playing  the  title  role  in 
*'  Battling  Butler  ”  at  the  New  Oxford 
Theatre. 

Marjorie  Hume  has  completed  her  part  as 
Simonne  F.verard  in  the  historical  two-reeler 
just  produced  by  Edwin  Greenwood. 

Eliot  Stannard  is  writing  the  scenarios  of 
the  new  B.  and  C.  “  Gems  of  Literature” 
two-reel  series. 

Congratulations  to  Bertram  Terry,  who 
was  married  to  Miss  Maton  at  Bourne¬ 
mouth  last  week. 

Douglas  Payne  has  been  playing  for 
Norman  Macdonald  in  the  first  of  the 
“  Gems  of  Art  ”  series. 

Clive  Brook  and  Flora  le  Breton  are 
starring  in  ,a  new  picture,  now  well  under 
way,  directed  by  Campbell  Gullan. 

Terence  Boddy  is  playing  the  little  son  of 
Charles  I.  in  “  The  Woman  of  Sorrow”  at 
the  B.  and  C.  studios. 

Annie  Esmond,  who  has  been  in 
“  Ambrose  Applejohn’s  Adventure  ”  during 
the  whole  of  its  West  End  runs,  has  been 
playing  for  George  Pearson. 

Nancy  Price  and  Frank  Stanmore  are 
among  the  supporting  cast  with  Betty 
Balfour  in  the  new  Welsh-Pearson  picture, 
“  Tip-Toes.” 


Where 

They  Are — and 
What  . 

They  Are  Doing 

Tony  Laing  (who,  by  the  way,  was 
erroneously  called  “  Tony  Melford  ”  in 
“  Shifting  Sands  ”)  is  playing  a  boy’s  part 
in  Denison  Clift’s  production  of  “  This 
Freedom  ”  for  Ideal. 

Russell  Thorndike,  Janet  Alexander, 
A.  G.  Hunter,  H.  Trumper,  Lionel 
D’Aragon  and  Roy  Beard  are  playing  for 
Edwin  Greenwood  in  the  two-reel  Charles  L 
picture  at  the  B.  and  C.  studios — one  of  the 
“  Wonder  Women  of  the  World  ”  series. 


A  PROPOSED  FEDERATION 

To  the  Editor  of  The  Motion  Picture 
Studio. 

Dear  Sir, — May  I  ask  you  to  correct  a 
slight  error  in  your  paragraph  in  the  current 
number  of  The  Motion  Picture  Studio 
icgarding  Arthur  William  Young? 

I  was  not  speaking  officially  on  behalf  of 
the  A. A.,  but  on  my  own  personal  responsi¬ 
bility.  The  whole  question  is  being  investi¬ 
gated. 

Yours  faithfully, 

A.  Harding  Steerman. 

Kinema  'Club,  January  6. 


Nora  Swinburne  has  been  playing  in 
“  Hornets’  Nest  ’’  for  Walter  West. 


Suzanne  Morris  has  recently  played  in 
“The  Mistletoe  Bough  ”  for  the  B.  and  C. 

Gordon  Hopkirk  is  playing  Prince  Rupert 
for  Edwin  Greenwood  at  the  Hoe  Street, 
Walthamstow,  studios. 

Gibson  Gowland  is  playing  Sir  Michael 
Blackross  in  the  Frank  Crane  Ideal  picture, 
“The  Hawk.” 

Captain  Bruce  Bairnsfather  will  co-operate 
with  Thomas  Beattey  in  the  forthcoming 
Ideal  picture,  “Old  Bill  Through  the  Ages.” 

Campbell  Gullan  is  directing  the  first  cf  a 
series  of  independent  productions  at  the 
Bertram  Phillips  Studios,  Clapham  Park. 

Jack  Dorrington  plays  the  organ-grinder 
in  Maurice  Elvey’s  production  of  “  The 
Sign  of  Four  ”  (Stoll),  and  has  also  been 
working  at  Samuelson’s  in  ‘‘A  Royal 
Divorce.” 

Bromley  Davenport  is  playing  a  leading 
part  for  Guy  Newall  in  “The  Starlit  Garden” 
(George  Clark),  and  is  at  present  on  location 
in  Italy.  This  is  his  seventh  part  with  this 
company. 

Edwin  Ellis  has  just  returned  from  Nice, 
where  he  has  been  playing  the  younger 
Napoleion  for  Samuelson’s  “  A  Royal 
Divorce.”  on  French  locations.  Sidney  Jay 
'■>as  now  secured  him  for  the  part  of  Jimmy 
the  stable  boy  in  the  Walter  West  produc¬ 
tion  of  “  The  Lady  Trainer.” 


W.D.C. 

KNOX 

Among  other  parts  : — - 

Sir  Walter  Scott 

IN 

“The  Prince  of  Lovers” 

(Gaumont) 

SIR  GEORGE  FORREST  in 
“  A  Gipsy  Cavalier”  (Black- 
ton) 

“  Expiation  ”  (Stoll’s) 

“Open  Country  ”  (Stoll’s) 

“  Flames  of  Passion”  (Graham 
Wile,  x) 

“  Paddy  —  'he  Next  Best 
Thing  "(Graham  Wilcox) 

Quality  Films  (2  Comedies) 


KINEMA  CLUB, 

9,  Great  Newport  Street, 
W.C.2. 

Phone  -  -  REGENT  630 


1 1 1 1 1  r  1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1  ■  1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 


January  13,  1923 


THE  MOTION  PICTURE  STUDIO 


Showers  By  Schedule 


Manning  Haym 

COLD,  Ihumid  countryside  in  the 
Home  Counties;  a  cottage,  much 
more  natural  than  a  real  one,  at  a  cross¬ 
roads ;  sputtering  searchlights  illuminating 
'blinding  torrents  ;  the  deafening  clatter  of 
generating  lorries;  shadowy  saturated 
figures  moving  with  obscure  purpose ;  and 
a  representative  muster  of  the  good  people 
of  'Bushey  in  the  inky  background. 

Such  were  the  chief  features  of  an  eerie 
spectacle  a  day  or  two  ago,  when  the 
scenes  of  the  climax  of  “The  Monkey’s 
Paw”  were  taken. 

I  he  whole  day  had  been  spent  on  the 
spot.  The  players,  including  Marie  Ault, 
Charles  Aslhton  and  Johnny  Butt,  had 
been  rehearsed  until  no  misgiving  on  their 
account  existed  in  the  mind  of  Manning 
Haynes.  The  heavy  rain  had  been 
thoroughly  tested,  and  the  rushing  wind 
put  through  its  paces.  The  lurid  lights 
hung  on  the  director’s  signal  hurl  forth 
their  fierce  beams  with  a  glare  that  would 
have  shamed  an  American  publicity  agent. 
The  cameraman,  Frank  Grainger,  with 
oilskins  and  an  umbrella  over  the  camera, 
concentrated  on  his  lenses.  The  cheerful 
but  damp  players  hovered  in  readiness. 
The  noise  began,  and  redoubled  as  blast 
after  blast  from  the  producer’s  police- 
whistle  rent  the  air. 

Ghostly  was  the  effect  of  the  drenching 
downpour,  swept  in  various  directions  by 
the  manipulated  “wind  ”  ib to  a  howling 
gale.  Marie  Ault  got  thoroughly  soaked 
by  the  time  the  several  shots  were  taken. 


;  at  Work  on  “  The 

Her  emergence  from  the  cottage  and  her 
horrified  look  up  and  down  the  road  for 
the  son  who  was  dead,  in  the  devastating 
hurricane  of  rain,  was  something  b>  be 
remembered ;  and  as  she  waited,  dripping, 
for  a  further  shot,  I  could  see  that  had 
the  monkey’s  paw  been  within  reach,  she 
would  have  eagerly  grabbed  it  and  given 
vent  to  as  hearty  a  wish  as  those  of  the 
story. 

However,  the  extra  scene  was  at  length 
shot,  and  Marie  Ault,  her  clothes  clinging 
to  her,  was  whizzed  away  to  His  Majesty’s 
Theatre  in  the  nick  of  time-  There  were 
still  more  scenes,  in  which  Johnny  Butt 
and:  Charles  Ashton  seemed  to  get  more 
cheerful  the  wetter  they  became  ;  and  by 
the  time  the  lights  had  been  dimmed  and 
the  cottage  had  become  a  sinister 
silhouette,  the  ground  underfoot  was  a 
yielding  morass. 

The  weirdest  and  grimmest  shot,  how¬ 
ever,  was  yet  to  come.  A  graveyard  with 
a  fresh  grave  and  planks  over  a  newly- 
dug  one  was  the  next  objective,  and  very 
convincing  it  looked.  When  the  elements 
had  once  more  been  rehearsed — they  were 
“starring  ”  in  this  scene — the  spectacle 
was  impressive  but  unsettling.  Pi'cture  an 
ivy-clad  wall  by  a  grave — rain  and  wind 
and  flying  leaves  whirling  over  the  flow¬ 
ers  on  the  grave,  which  are  presently 
whisked  off  by  an  unknown  agency ! 
Ear-splitting  machinery,  whirring  ap¬ 
paratus  and  shrill  whistle  blasts,  and  cold 
mud  underfoot  did  not  ease  the  suggestion 


Monkey’s  Paw  ” 

that  the  whole  scene  was  a  nightmare 
from  which  one  would  presently  awaken. 

I11  the  studio,  Mr.  W.  W.  Jacobs  de¬ 
clared  to  me  that  nothing  would  persuade 
him  to  become  a  film-producer.  His 
respect  for  those  who,  in  the  sacred  name 
of  art,  and,  perhaps,  of  business,  would 
engineer  and  carry  out  without  regard  to 
physical  discomfort  or  nervous  strain,  such 
proceedings,  was  intense.  We  agreed  that 
the  remarkable  spirit  of  co-operation  and 
fellowship  which  seemed  to  prevail  under 
Manning  Haynes  was  the  reason  why 
such  scenes  could  be  done  with  the  mini¬ 
mum  of  trouble  and  delay  ;  and  indeed, 
the  ready  help  which  everyone  under  the 
banner  of  Artistic  Films  accords  to  his 
neighbours  •  was  an  object-lesson.  The 
sunniness  of  disposition  of  everybody  after 
all  was  over  was  striking,  but  was  not 
appreciably  greater  than  when  the  excite 
ment  was  at  its  height. 

Lydia  Hayward  whom  Mr.  Jacobs 
accused  of  improving  his  stories  in  her 
scenarios  of  them,  concurred.  Everybody 
helped  everybody  else,  but  nobody  got  in. 
the  way — except  the  Press. 

“The  Monkey’s  Paw',”  which  is  almost 
finished,  is,  of  course,  one  of  the  author’s 
departures  into  the  grim  and  grisly,  and 
ik  a  classic  of  its  genre.  As  a  five-neeler 
it  should  be  worth  seeing.  The  small 
cast  includes,  besides  those  mentioned, 
Moore  Marriott  as  the  father,  A.  B. 
Imeson,  and  “Monty,”  the  canine  charac¬ 
ter-actor. 


JL  f  is  possible — and  fairly  easy — to  be 
profoundly  dissatisfied  with  things  and 
yet  never  to  grumble.  There  is  no  need 
to  be  silent  on  the  many  grievances  which 
exist  in  the  studio  world.  On  the  con¬ 
trary,  it  is  the  duty  of  all  those  who  are 
aware  of  them  to  give  them  the  fullest 
publicity  when  the  occasion  demands. 

I  he  grumbler  wall  never  be  eradicated. 
H.  G.  Wells  has  depicted  a  grumbler 
whose  chronic  dissatisfaction  is  expressed 
in  a  Utopia;  and  Gilbert’s  King  Gama 
and 

“  The  idiot  who  praises,  with  enthusi¬ 
astic  tone, 

All  centuries  but  this,  and  every  coun¬ 
try  but  iiis  own,” 

are  types  whose  presence  in  our  midst 
will  always  endure.  In  a  sense  they  are 
the  salt  of  the  earth,  as  they  represent, 
after  ^all,  the  fanatic  side  of  idealism;  and 
fanatics  have  always  been  regarded  as 
the  mainsprings  of  any  crusade  or  move¬ 
ment  for  betterment.  But  thev  are  such 
poor  company  that  their  personal  influence 
is  discounted  by  their  disgruntled  mental 
attitude  and  the  bitterness  that  tinges  their 
conversation  at  all  times. 

1  here  are  too  many  of  them  in  the 
''i-eative  side  of  motion  pictures.  The 
uncertainty  of  the  industry  is  certainly  a 
most  extenuating  circumstance.  One  natu- 
1  ally  expects  to  find  a  larger  proportion 
of  “grousers”  among  film  folk  than 
among  chartered  accountants.  Moreover, 
grumbling  is  almost  an  English  national 
trait.  But  surely  it  is  not ’part  of  the 
foundation  of  our  greatness. 

Anyone  listening  for  an  hour  or  so  to 


The  Grumbler 

Nothing  Satisfies  Him 

certain  specimens  of  grumbler  might  be 
excused  tor  coming  to  the  conclusion  than 
things  could  hardly  be  worse  in  the  British 
Industry;  that  firms  and  producers  are  all 
rorrupt,  ignorant  and  spiteful ;  that  actors, 
actresses,  cameramen,  scenarists  and 
publicity  people  are  hopelessly  imcompe- 
tent ;  and  that  merit  in  any  one  of  these 
various  spheres  has  no  possible  chance  of 
material  recognition. 

This  is  not  true.  There  are  many  whose 
chance  seems  a  long  time  coming ;  there 
are  plenty  of  people  in  high  places  who 
have  no  business  there.  On  the  other 
hand,  there  are  scores  of  men  and  women 
whose  knowledge,  experience  and  inte¬ 
grity  fit  them  for  the  positions  they  justly 
hold.  There  are  many  producers  who  are 
men  of  wide  knowledge,  cultivation,  and 
ability;  assistant  producers  and  others  who 
will  one  day  be  producing  pictures  them¬ 
selves  as  a  result  of  conscientious  study 
and  work :  and  players  whose  deserved 
success  is  the  direct  result  of  them  taking 
their  work  seriously. 

!  VACANT . Next  Week.  | 

j  FRONT  COVER  j 
1  £6  10  0  without  Blockmaking  j 

Ccpy  must  be  in  by  'Wednesday  next.  | 


The  grumbler  is  to  be  found  at  both 
extremes  of  the  business,  and  in  the 
middle,  too.  There  are  producers  who 
think  it  an  undignified  thing  to  praise 
an  artist,  and  whose  direction  is  charac¬ 
terised  by  a  querulous  manner  and  a  curt¬ 
ness  of  speech  which  does  much  to  spoil 
the  actor’s  giving  of  his  best.  If  such 
men  would  only  realise  how  much  an 
occasional  word  of  satisfaction  means  to 
an  artisr  who  wants  to  know  so  much 
whether  he  has  done  the  right  thing ! 

There  are,  unfortunately,  confirmed 
grumblers  among  artistes  who  disgust 
their  fellows  and  tar  them  with  the  same 
brush.  When  elaborate  arrangements  for 
transport,  meals,  and  accommodation  are 
made  for  artistes,  and  certain  of  them — - 
perhaps  normally  unused  to  anything  half 
so  good — do  nothing  but  find  fault,  is  it 
to  be  wondered  at  that  those  in  authority 
sometimes  regard  them  as  spokesmen  for 
all  the  others?  The  whole  of  the  players 
are  often  classed  as  an  ungrateful  pack 
of  grousers  in  consequence. 

There  are  quite  enough  real  abuses  with¬ 
out  having  resort  to  imaginary  ones.  The 
grumbling  spirit  doesn’t  help — it  impedes: 
it  is  destructive  and  not  constructive. 
Moreover,  the  grumbler  gets  known  ;  and 
if  other  things  are  equal,  he  gets  turned 
down  in  favour  of  others  for  that  reason 
alone.  Finally,  he  has  no  sense  of 
humour.  If  he  had,  it  could  come  to  his 
rescue.  The  broad-minded  individual 
always  makes  his  grievances  a  joke.  To 
the  narrow-minded  person,  a  joke  is  in 
itself  a  grievance. 


THE  MOTION  PICTURE  STUDIO 


January  13,  1923 


Screen  Values 

ing  Up  the  Week’s  Product 


M  e  a  s  u  r 

“  Mirage  ” 

George  Clark  (Stoll). — Produced  from 
the  novel  by  E.  Temple  Thurston  by 
Arthur  Rooke. — Leading  Players  :  Edward 
O’Neil,  Douglas  Mun.ro,  Dorothy  Holmes- 
Gore,  Blanche  Stanley,  Geoffrey  Kerr, 
William  Parry. 

It  is  not  easy  to  see  why  Temple  Thurs¬ 
ton’s  charming  and  altogether  atmos¬ 
pheric  novel  should  have  been  selected  as 
the  basis  on  which  to  build  a  five-reel 
film.  We  should  have  placed  it  in  the 
enormous  category  of  books  unsuitable  for 
screen  reproduction.  The  action  is,  in  any 
case,  insufficient  for  more  than  two  or 
three  reels— a  defect  only  too  common  to 
George  Clark  pictures. 

Arthur  Rooke  has  probably  done  the 
best  that  could  be  done  with  such  materia] 
and  has  refrained  from  grafting  on  to  the 
author’s  original.  The  result  is  that  the 
continuity  becomes  attenuated  almost  to 
breaking-point,  and  the  slow  tempo  is  by 
degrees  tantalising  and  soporific. 

The  theme  in  itself  is  a  pretty  and 
graceful  one  of  May  and  December,  and 
the  old  count  whose  love  i's  reawakened 
by  the  daughter  of  his  former  divinity  is 
an  altogether  delightful  figure  whose  fine 
nature  is  well  brought  out  by  the  devotion 
of  his  old  servant.  The  other  characters 
seem,  indeed,  shadowy  puppets  by  compari¬ 
son,  partly  because  they  are  kept  persis¬ 
tently  in  the  background. 

Edward  O’Neil,  who  dominates  the  pic¬ 
ture  almost  entirely,  is  the  bright  spot  in 
It;  but  even  his  flawless  performance* — a 
consummate  piece  of  gentle  and  dignified 
acting — only  makes  one  wish  that  the 
story  were  some  better  vehicle  for  hi's 
sterling  abilities. 

Douglas  Munro  is,  in  the  main,  an  ex¬ 
cellent  foil,  and  nothing  could  be  sincerer 
than  his  performance  in  the  many?  scenes 
of  his  selfless  devotion  to  his  master. 
The  love  scenes  between  him  and  Blanche 
Stanley,  who*  is  also*  excellent  in  a  middle- 
aged  role,  are  drawn  out,  but  that  is  not 
his  fault.  There  is  never  much  subtlety 
in  his  work,  but  he  is  always  a  very 
human  and  quaint  figure. 

Dorothy  Holmes  Gore  has  not  a  strong 
screen  personality,  but  is  sweet  and  plea¬ 
sant  in  a  not  very  exacting  part.  Geoffrey 
Kerr  is  seen  so*  little  that  there  is  ha:dly 
any  footage  on  which  to  base  an  ophiion. 
A  real  love-scene  or  two  between  the 
young  people  would  have  given  more 
balance  to  the  story  and  satisfied  the  ever¬ 
present  interest  in  young  lovers  which  few 
producers  can  afford  to  ignore. 

The  photography  is  mostly  of  a  very 
hi'gh  order,  with  many  beautiful  exterior 
scenes ;  but  there  are  some  very  variable 
patches.  The  print,  was  far  from  perfect. 

The  settings  have  been  carefully  chosen 
and  arranged.  The  titling  lapses  once  or 
twice  into  nebulosity,  and  punctuation  and 
even  orthography  are  not  beyond  reproach. 

The  producer  has  done  infinitely  better 
work  both  before  and  since  this  picture 
was  made,  but  we  feel  that  it  would  be 
unfair  to  saddle  him  with  those  short¬ 
comings  which  are  inherent  in  the  theme. 
By  the  way,  the  Count  enters  the  board¬ 
ing-house,  at  the  end,  in  broad  daylight 


to  find  candles  burning  on  the  piano, 
which,  blown  out,  reduce  the  room  to 
darkness.  Did  night  fall  really  so 
abruptly,  or  were  the  blinds  down  ? 
SUMMARY. 

Direction  :  Able- 

Acting  :  Sound. 

Story  :  Pretty  but  unsuitable  and  thin. 

Scenario  :  Smooth,  but  very  slow. 

Photography  and  Lighting  :  Good  with 
exceptions. 

“  The  Romany  ” 

Welsh-Pearson — Directed  by  F.  Martin 
Thornton — -Story  and  scenario  by  Elict 
Stannard  —  Photography  by  Percival 
Strong — Leading  players  :  Victor  McLag- 
len,  Hugh  E.  Wright,  Irene  Norman, 
Peggy  Hathaway,  Ida  Fane,  Minna 
Grey,  Harvey  Braban,  Florence  Wood, 
Malcolm  Tod.  Distributed  by  Jury’s 
Imperial  Pictures,  Ltd. 

“  The  Romany,”  in  our  judgment, 
places  F.  Martin  Thornton  among  the 
greatest  of  British  picture  directors.  He 
would,  we  know,  be  the  first  to  accord 
the  due  credit  to  those  who  have  worked 
with  him,  but  his  own  share  is  obviously 
so  dominant  that  it  is  to  him  that  we 
accord  our  heartiest  compliments. 

Never  before  have  the  beauty  and  rug¬ 
ged  grandeur  of  Scots  scenery  been  so 
triumphantly  exploited.  The  skill  With 
which  it  has  been  photographed  and  the 
evidently  infinite  care  in  the  selection  of 
locations  has  resulted  in  a  picture  that 
lives  in  its  settings.  It  is  unquestionably 
the  nearest  thing  to  an  actual  visit  to 
Scotland,  and  the  Land  o’  Cakes,  were 
it  in  need  of  advertisement,  could  have 
none  better  than  this  sympathetic 
creation  of  all  associated  with  it.  Most 
important  is  the  fact  that  the  mountain¬ 
side,  the  sheltered  valley  and  the  rush¬ 
ing  flood  have  not  been  shown  as  simply 
beautiful  in  themselves,  as  is  so  often 
the  case  when  a  British  producer  is  car¬ 
ried  away  by  his  own  native  scenery.  We 
have  seen  too  many  native  pictures  in 
which  one-third  of  the  footage  holds  up 
the  action  for  the  sake  of  the  settings. 
In  these  cases  the  proper  place  for  such 
footage  is  in  <X  travel  film.  In  “  The 
Romany  ”  we  did  not  see  one  single  foot 
of  superb  scenery  which  was  not  at  the 
same  time  a  background  for  the  develop¬ 
ment  of  the  story. 

The  story  itself  is  yet  another  vindica¬ 
tion  of  the  original  film-play.  Stannard  hast 
written  a  very  human  and  smooth  tale, 
which  escapes  conventionality  without  be¬ 
ing  too  complicated,  and  'has  employed 
all  the  drama  to  be  obtained  from  gipsy 
custom  and  Scottish  marriage  law,  with 
excellent  effect.  It  is  clear  that  he  has 
worked  closely  with  the  director. 

The  tragic  end  of  the  undesirable 
suitor  was  descreetlv  not  dwelt  upon  in 
detail,  and  seemed,  perhaps  for  this 
reason,  not  so  clear  as  it  might  have  been. 

Victor  McLaglen’s  interpretation  of  the 
gipsy  chief  is  easily  the  best  work  he  has 
yet  done.  Physically  and  histrionically 
he  towers  over  all  the  other  players,  and 
one  understands  the  very  spirit  and  nature 


oif  the  dominating  self-reliant  nomad — a 
convincing  blend  of  roughness  and  gentle¬ 
ness — bv  virtue  of  his  performance.  The 
more  one  sees  him,  the  more  one  wants  to 
see  him — surely  a  safe  criterion  of  a  bril¬ 
liant  piece  of  work.  His  acting  improves 
with  every  picture  he  plays  in,  and  “The 
Romany”  sets  the  seal  on  one  of  the 
greatest  screen  personalities  in  any 
country.  His  riding  and  fighting  are  part 
of  his  character-portrayal  ■ — -  not  simply 
stunts ;  and  he  has  acquired  a  tenderness 
at  the  right  times  which  invariably  rings 
true. 

Hugh  E.  Wright’s  half  pathetic  and 
ludicrous  impersonation  of  Gipsy  Jim  is 
also  a  living  piece  of  work.  The  thimble- 
rigging  early  in  the  story  gives  him  his 
best  cnance.  We  found  it  most  fascinat- 
ing. 

Irene  Norman  looks  exceedingly  well 
— if  rather  unnecessarily  clean  about  the 
clothes — and  acts  quite  well  as  the  gipsy 
maid  consumed  wSt'h  fiery  jealousy.  A 
little  darker  make-up  would  have  helped 
the  character,  but  her  work  as  a  com¬ 
parative  newcomer,  is  very  creditable. 

Peggy  Hathaway  has  improved  since  her 
last  picture,  and  looks  very  pretty  and  ill- 
used  ;  but  somehow  it  was  difficult  to  feel 
very  great  sympathy  for  her,  especially 
when  she  is  apparently  reluctant  to  do 
any  houise-w  ork — or,  rather,  caravan-work. 
This  struck  us  as  a  minor  blemish  in  the 
story.  It  was  not  absolutely  clear,  either, 
whether  the  Romany  chief’s  attitude  to 
her  was  simply  protective. 

Ida  Fane  as  Zilla,  the  witch-like  hag  of 
a  grandmother,  puts  up  the  best  perform¬ 
ance  among  the  women  members  of  the 
cast,  and  her  acting,  make-up  and  clothes 
combined  to  get  over  a  sinister  effect. 

Minna  Grey  and  Florence  Wood  contri 
bute  brief  but  very  sound  renderings  of  the 
aunt  and  housekeeper  respectively. 

Harvey  Braban,  despite  occasional  over 
acting,  is  good  in  a  “heavy”  part.  He 
did  not  look  wonderfully  Scottish,  but 
nevertheless  played  with  much  vigour. 
His  abrupt  doom  seem  a  little  undeserved. 

Malcolm  Tod  is  pleasant  as  a  young 
Soot  in  a  part  that  called  for  very  little. 

The  gipsv  camp  scenes  are  wonderfully 
well  grouped,  and  the  crowds,  full  of  odd 
types,  looked  the  real  thing.  There  was 
none  of  the  striving  after  poverty  effects 
which  so  often  result  in  scenes  of  what 
may  be  called  immaculate  squalor,  nor 
any  obvious  posing  of  groups. 

The  sheep-dog  trial  and  the  final 
thunderbolt  and  fire  effects  are  triumphs 
of  production. 

Percy  Strong’s  photography  is  superb 
SUMMARY. 

Direction  :  First  class. 

Story  :  Sound. 

Scenario  :  Good. 

Acting  :  McLaglen  easily  outshines  rest 
of  cast. 

Exteriors  :  Superlatively  fine. 

Interiors  :  Good. 

Photography  :  As  near  perfect  as  makes 
no  difference. 


13 


THE  MOTION  PICTURE  STUDIO 


January  13,  1923 


The  American  on  British  Pictures 

An  Imaginary  Interview  with  a  Candid  Cousin 


“  TJ  A  YE  you  ever  seen  a  British  picture 
worth  showing  in  America?  ” 

“  Sure.”  Titus  A.  Drumm,  one  of  the 
foremost  figures  in  the  film  firmament  on 
the  other  side,  chewed  his  cigar  reflec¬ 
tively.  “  One  or  two — but  they  were 
just  flukes.  Speaking  generally,  they’re 
money-droppers.  ” 

“  Your  showmen  don’t  like  them?  ” 

‘‘Well,  1  should  smile!  Have  vou 
given  any  of  their  snappy  verdicts  the 
once-over?  'See  what  they  sav  when  thev 
try  an  English  picture  for  three  days  ! 

‘  A  good  picture  for  the  other  fellow  to 
book.’  ‘  A  few  more  of  these  and  I  close 
down.’  ‘Fans  asked  why  I  hired  such 
hokum.’  Y’ou  can’t  persuade  ’em  other¬ 
wise.” 

“  What’s  the  matter  with  them,  do 
you  think?  ” 

“  Amateurish  technique,  chieflv.  Now 
and  again  we  can  handle  one,  but  in 
general  they  seem  made  by  too  few 
people — I  mean  they  show  little  evidence 
that  experts  have  been  at  work  at  every 
end.  Above  all,  they’re  too  slow.” 

“  The  stories  lack  punch  and  pep?” 

“  Not  that.  Our  stories  are  no  better — - 
often  a  deal  worse — I  give  you  that.  But 


The  usual  weekly  meeting  of  the 
.Society  was  fairly  Well  ‘■attended  last 
Friday.  A  new  full  member  was  elected 
— W.  House. 

A  forthcoming  lecture  by  F.  Vinten  is 
promised.  The_  well  known  ldnemato- 
graph  engineer  has  consented  to  address 
the  members  on  “  The  Faults  of  the  Kine 
Camera  and  its  Repairs,”  a  wide  field  for 
discourse,  which  can  hardly  fail  to  be 
fruitful  to  his  listeners.  The  date  will 
shortly  be  announced. 

A.  G.  Kingston  is  preparing  a  lecture 
on  studio  camera  work  for  the  R.P.S. 
suggested  series.  The  K.C-S.  also  con¬ 
template  a  semi-private  lecture  by  Mr. 
Winslow,  late  studio  manager  at  Hacknev, 
who,  it  is  hoped,  will  give  an  address 
full  of  reminiscence  and  impressions  of 
his  own. 

The  first  meeting  of  the  Society  at  the 
Kinema  Club,  9,  Great  Newport  Street, 
will  take  place  on  Friday,  the  19th  inst., 
and  on  every  subsequent  third  Friday  in 
each  month. 

A  special  “  stunt  ”  of  a  highly  mysteri¬ 
ous  character  is  promised  by  members  of 
the  society  and  others,  for  the  big 
Kinema  Carnival  at  the  Hotel  Cecil,  on 
February  5.  The  nature  of  the  enterprise 
is  a  jealously-guarded  secret,  but  those 
who  will  take  part  will  include  T. 
Scales,  J.  Cotter,  Jock  Gemmell  and 
Kenneth  Gordon  (secretary). 

Tickets  for  the  K.C.S.  dinner  at  the 
Holborn  Restaurant  on  February  16,  are 
being  briskly  disposed  of,,  and  mav  be  ob¬ 
tained  at  the  Kinema  Club  or  from  most 
members.  A  certain  very  well-known 
dancer  will  probably  appear  at  the  Con- 


the  way  they’re  told — the  unnecessary 
footage,  the  lack  of  snap  and  brightness 
both  in  scenarios  and  in  the  cutting — was 
probably  the  biggest  real  obstacle  to  their 
getting  over  with  American  audiences.  ’ 

“  But  the  British  producer — the  pioneer 
— should  know  something  by  now?  ” 

‘‘  He  does — but  not  enough.  Your 
producers  of  ten  years  back  have  hardly 
moved  an  inch,  except  on  photography 
itself.  They  try  to  do  everything  them¬ 
selves  instead  of  relying  on  others  in  mat¬ 
ters  of  sets,  casting,  scenarios,  cutting 
and  titling.  No  American  produce:' 
imagines  he  can  do  all  these  things  him¬ 
self — he  leaves  them  to  others  who  know, 
and  works  with  them  in  consultation 
only.” 

“Perhaps  we  don’t  possess  such  ad¬ 
visory  experts?” 

“  We  didn’t — once.  Then  presently'  we 
looked  around  and  discovered  all  sorts  of 
trained  useful  people,  and  roped  them  in 
to  our  business.  I  rather  fancy  some  of 
your  directors  didn’t  want  anybody  but 
themselves  hanging  around.  ” 

“  How  are  we  to  find  them?  ” 

“  By  looking  for  them.  A  heap  of 
your  brightest  boys  have  made  good  in 


cert  which  follows  the  dinner.  A  dance 
is  also  arranged  to  follow  the  concert,  so 
that  the  evening  promises  to  be  a  full  one. 
Several  well-known  producers  and  stars 
have  already  promised  to  attend. 

Tommy  Scales  is  justly  pleased  and 
proud  at  the  recent  presentation  to  him 
of  a  framed  photograph  of  H.M.S. 
Hood’s  officers.  From  the  Admiral  down¬ 
wards,  every  officer  has  autographed  it, 
and  Scales  greatly  treasures  this  highly 
gratifying  token  of  the  pleasant  relations 
that  prevailed  during  his  special  work 
aboard  the  giant  battleship. 

Kenneth  Gordon’s  interest  picture  of 
St.  Paul’s  Cathedral  has  been  made  into 
a  two-reeler,  and  will  be  issued  next 
month  by  Pathe-  The  lighting  difficulties 
were  formidable,  but  he  claims  to  have 
obtained  unusually  striking  results. 

Henry  Harris  has  returned  from  the 
Continent,  where  he  has  been  turning  for 
Adrian  Brunei  in  the  Atlas  Biocraft’s 
first  picture.  In  Germany  Harris  became 
acquainted  with  the  author  of  the  famous 
‘‘Dr.  Caligari”  picture,  who  made 
Harris  a  most  tempting  offer  to  remain  in 
the  fatherland.  Harris  was  pleased  that 
his  camera  w'ork  had  made  so  favourable 
an  impression,  but  his  contract  made  ac¬ 
ceptance  impossible. 

E.  T.  Grant  i,s  shortly  leaving  for 
Australia,  ,of  which  ‘pountry  he  is  a 
native;  but  his  stay  is  not  likely  to  be 
a  very  long  one. 

Frank  Grainger  is  shooting  the  final 
scenes  for  Manning  Haynes  in  “  The 
Monkey’s  Paw.” 

Jack  Cox  has  been  turning  at  Stoll’s 
for  Maurice  Elvey,  in  “  The  Sign  of 
Four.” 


every  end  over  here,  but  you  surely  have 
a  few  left.” 

“  You  don’t  object  to  films  because 
they’re  made  in  England?  ” 

No  more  than  you  do  because  ours 
are  made  here.  The  only  prejudice  that 
exists  is  based  on  the  average  picture  you 
send.  We  like  English  w(ays  and  English 
scenery,  but  we  can’t  take  a  picture  on 
that  alone.” 

Don’t  you  think  that  the  recent  in¬ 
novation  of  our  importing  an  American 
star  is  going  to  help  sell  our  products 
to  you  ?  ” 

It  will  make  a  difference,  sure;  but 
oh,  boy !  when  you  get  an  American 
star,  an  American  director,  why  do  you 
pick  our  duds?  You  don’t  always  do 
it,  I’ll  allow;  but  if  you  only  knew  what 
a  joke  it  is  on  you  for  us  to  see  our 
worn-out  stars,  whose  box-office  value  is 
nil  to-day  (whatever  it  may  have  been 
once),  coralled  for  British  pictures  in 
order  to  get  the  American  market!  ”  Mr. 
Drumm’s  mirth  choked  his  utterance. 

“  Have  you  any  advice  to  offer?  ” 

“  More  than  you  would  print.  Boiled 
dowtn,  it  means  taking  your  business  more 
seriously.  You  have  lots  of  sincere, 
clever  people  in  it,  and  you  must  give 
them  more  chances  —  especially  those 
who  do  the  work  off  the  floor.  And  you 
mustn’t  let  people  who  don’t  know  be  the 
judges  of  scenarios,  continuity,  cutting 
and  titling — four  very  important  things. 
Don’t  think  I’m  cracking  up  our  pictures 
— there  are  hundreds  here  that  we 
should  never  have  the  nerve  to  send 
over.  But  until  your  technical  finish  gets 
up  to  a  reasonable  standard,  it  will  be 
waste  of  time  trying  to  sell  us  your  pro¬ 
ducts,  even  if  you  get  Lillian  Gish  or 
Valentino  to  come  over  and  play  in  them.” 

1  staggered  out,  bewildered. 

Miniature  Scenarios 
No.  1 

“  Destiny's  Dregs  " 

F,ade  in 

Scene':  Agent’s  office  as  per  scene  plot. 

Moist  agent  counting  coppers  and  checking 
commission  register — looks  up — stops.  Shoe 
of  door.  Majestic  and  spruce  actor  enters, 
puts  up  monocle — bows.  Full  shot.  Agent 
hastily  puts  money  in  desk,  locks  it,  chats 
briefly  t<j  .actor,  who  acts  very  hard — says 
to  agent. 

Title  :  “  1  might  be  persuaded,  to  do  a  little 
work — my  terms  are  twenty  guineas  a  day." 

He  looks  benevolently  at  agent.  Hold. 

Close-up  of  agent’s  face,  looking  narrowly 
at  actor — a  flickering  Hayakawa  smile 
lingers — he  says 

Title:  “ I’ve  got  nothing  at  all  except  a 
crowd  to-morrow ,  starting  at  six  from  Water¬ 
loo — if  r fifteen  bob' s  any  use  to  you  ...” 

Three-quarter  shot.  Actor  rises  with 
superb  dignity— agent  begins  to  quail — 
wounded  pride  is  on  actor’s  face — he  turns 
without  a  word,  to  the  door ;  agent,  fasci¬ 
nated  and  fidgety,  gulps  and  stares.  Phn- 
carnera  to  shot  by  door.  Actor  turns  to 
agent  as  he  opens  the  door,  draws  himself 
up,  and  says  with  air  of  supreme  grandeur 

Title:  “ Which  platform ?” 

He  waits — listens — nods  and  smiles 

sweetly  as  he  goes  out. 

IRIS  OUT  slowly. 


Cameramen’s  Section 

News  and  Views  and  Record  of  Activities  of 

Kine-Cameramen 


14 


January  13,  1923 


THE  MOTION  PICTURE  STUDIO 


Complete  List  of  all  the  British  Studios,  together 
with  Addresses,  Telephone  Numbers,  Full  Par¬ 
ticulars  of  Current  Productions  and  Routes  for 
::  ::  ::  ::  Reaching  the  Studios  ::  ::  ::  - 


Adelqui  Millar  Productions. —  1,  Lein¬ 
ster  Square,  W.2.  Park  12o8. 

Albert-Fhillips  Film  Production. — 3, 

Wardour  Street,  W.  1.  Regent 32  82. 

Alliance  Film  Co. — St.  Margaret’s, 
Twickenham.  Richmond  194  5. 

Route  :  ’Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret's  every 
10  minutes. 

Artistic  Films,  Ltd. — 93-95,  Wardour 
Street,  W.l.  Gerrard  3210. 

Film  :  “  The  Monkey’s  Paw.” 

Director  :  Manning  Haynes. 

Scenarist  :  Lydia  Hayward. 

Stars  :  Moore  Marriott  and  Mary 
Ault. 

Cameraman  :  Frank  Grainger. 

Stage  :  Tenth  week. 

Astor  Productions. — 40,  Shaftesbury 
Avenue,  London,  W.  Gerrard  8436. 

Director  :  Peter  Astor. 

Atlas  Biocraft. — 58,  Ilaymarket,  Lon¬ 
don,  S.W.l. 

Barkers. — Ealing  Green,  London, 
W.5.  Ealing  211  and  1582. 

Route  :  District  or  C.L.R.  Tube  to 
Ealing  Broadway.  Piccadilly  Tube, 
change  at  Hammersmith.  ’Bus 
Route  No.  17. 

Studio  Vacant. 

B.  &  C.  Productions. — Hoe  Street, 
Walthamstow.  Walthamstow  364 
and  712. 

Route  :  ’Bus  38.  Tram  81  to 
Bakers’  Arms.  Trains  from  Liver¬ 
pool  Street  to  Hoe  Street  every 
few  minutes. 

Film  :  “  Wonder  Women  of  the 
World.” 

Type  :  One-reelers. 

Director  :  Edwin  Greenwood. 

Scenarist  :  Eliot  Stannard. 

Cameraman  :  A.  G.  Kingston. 

Stage  :  One  a  fortnight. 


Film  :  “  Gems  of  Literature.” 

Director  :  Edwin  J.  Collins. 

Type  :  Two-reel  dramas. 

Stage  :  Second  week. 

Baron  Films. — 91,  St.  Martin’s  Lane, 
W.C.2. 

Beehive  Production. — - 

Production  Manager  :  Geoffrey 
Benstead. 

Director  :  George  Dewhurst  and 
Bert  Haldane 

Assistant  Director  :  Horace  Cor¬ 
by  n. 

Scenarist  :  Jack  Denton. 

Stars  :  Jimmy  Reardon  and  Mar¬ 
garet  Hope. 

Cameraman  :  G.  Pauli  and  Bert  Ford 

Stage  :  Scheduled. 

British  Famous  Films.  —  “  Wood¬ 
lands,”  High  Road,  Whetstone. 
Finchley  1297. 

Studio  Vacant. 

British  and  Oriental. — B.P.  Studios, 
Thornton  House,  Thornton  Road, 
Clap  ham  Park.  Streatham  2652. 

British  Photoplays. — Devon  Cham¬ 
bers,  28.  Fleet  Street,  Torquay. 

Not  Working. 

British  Productions. — Selborne  Road, 
Hove. 

Film  :  Title  undecided. 

Director  :  Lieut.  Daring. 

Star  :  Lieut.  Daring. 

Cameraman  :  Bert  Ford. 

British  Super  Films. — Worton  Hall, 
Isleworth.  Hounslow  212. 

Route  :  ’Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth  : 
A.m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 

past  each  hour  until  11.51  p.m. 
Extra  trains  :  4.43,  5.13,  5.43, 
6.13,  6.43,  7.13. 

Isleworth  to  Waterloo  :  8.33, 


8.44.  9.3,  9.13,  9.33,  9.44,  10.14, 

10.44.  Same  minutes  past  every 

hour  until  10.44,  11.14  p.m. 

Extra  trains  :  5.30,  6.0,  6.30. 

Daisy  Productions. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson. — Lea  Bridge  Road,  E.10. 

Walthamstow  634. 

Route  :  ’Bus  Nos.  35  and  38.  Trams 
81,  55,  57. 

Dewhurst  Productions. 

Film  :  “  What  the  Butler  Saw.” 
Director  :  George  Dewhurst. 

Star  :  Madge  Stuart. 

Cameraman  :  G.  Pauli. 

Stage  :  Nearing  completion. 


Film  :  “  The  Uninvited  Guest.” 

Director  :  George  Dewhurst. 

Star  :  Stewart  Rome. 

Cameraman  :  G.  Pauli. 

Stage  :  Completed. 

F.  P.-Lasky. — -Poole  Street,  Isling¬ 
ton.  Dalston  2  770. 

Route  :  ’Bus  38a,  to  New  North 
Road,  and  then  tram  No.  11. 

Gaumont. — Lime  Grove,  Shepherd’s 
Bush,  W.  12.  Hammersmith  2090- 
1-2. 

Route  :  ’Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station. 

Film  :  “  Bonnie  Prince  Charlie.” 

Stage  :  Scheduled. 


Glen  Film  Productions. — 20,  Lisle 
Street.  W.C. 

Studio  :  “  Belgrave,”  Marine  Ter¬ 
race,  Aberystwyth. 

Not  working. 

“  Gems  of  Art  ”  Film  Co.,  Ltd.  - 

1,  Bear  Street,  W.C. 

Films  :  “  Gems  of  Art.” 

Director  :  Norman  Macdonald. 
Cameraman  :  E.  Groc. 

Stage  :  Third  week. 

George  Clark  Productions. — 4  7,  Ber¬ 
ners  Street,  W.l.  Museum  3012. 
Film  :  “  The  Starlit  Garden.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Cameraman  :  II.  A.  Rendall. 

Stage  :  Fifth  week. 

Graham  Wilcox  Productions. —  89-91, 
Wardour  Street,  London,  W.l. 
Next  Film  :  “  Chu  Chin  Chow.” 
Director  :  Graham  Cutts. 

Stage  :  Scheduled. 

Granger-Binger. — 191,  Wardour  St., 
W.l.  Gerrard  1081,  1728. 
Studios  :  Haarlem,  Holland. 

Film  :  “  The  Hypocrites.” 

Stage  :  Completed. 

Film  :  “  The  Lion’s  Mouse.” 

Stage  :  Completed. 

Granville  Productions. — 61,  Berners 
Street,  W.l.  Museum  252  8. 

Film  :  “  Hennessey  of  Moresby.” 
Director  :  Fred  Le  Roy  Granville. 


^  ^  ^  ^ 


I  Stage  :  Starting  shortly. 

Hardy. — 13,  Gerrard  Street,  W.l. 

I  Gerrard  22  84. 

Harma  Clarendon. — 16,  Limes  Road, 
Croydon.  Croydon  921  and  2084. 

Hepworth  Picture  Plays. — Walton* 

on-Thames.  Walton  1 6. 

Route  :  From  Waterloo  :  A.m., 
7.0.  8.0.  9.20,  10.20.  11.20  ;  p.m., 

12.20,  1.20.  2.20,  3.20,  4.20,  4,54, 

5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 

7.0,  7.20,  8.20,  8.55,  9.20,  10.20, 
11.34. 

From  Walton  :  A.m.,  7.59,  8.29,. 
8.41,  8.56,  9.9.  9.46,  10.10,  11.10; 
p.m.,  12.10,  1.10,  2.10,  3.10.  4.11, 

5.10.  5.44,  6.10,  7.10,  8.10,  9.10, 

10.10.  10.35.  11.34. 

Productions  nearly  completed. 

j  Ideal. — Boreliam  Woods,  Elstree, 
Herts.  Elstree  52. 

Route  :  Trains  from  St.  Pancras  : 
A.m..  7.30,  8.0,  8.50,  9.55,  10.45, 
11.48;  p.m.,  12.33,  1.13,  2.35, 

3.55,  4.45,  5.12,  6.2,  6.45,  6.50, 

7.20,  8.8.  9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras  : 

9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.3.  3.56,  4.56,  5.29,  6.18,  6.55, 
7.36,  8.54,  10.14.  11.3. 

Studio  Manager  :  F.  A.  Kendrick. 

Art  Director  :  J.  T.  Garside. 


Film  :  “  This  Freedom.” 
Director  :  Denison  Clift. 
Star  ;  Fay  Compton. 
Scenarist  :  Denison  Clift. 
Stage  :  Completed. 


Film  :  “  The  Hawk.” 
Director  :  Frank  Crane. 
Star  :  Chas.  Hutchison. 
Stage  :  Eighth  week. 


Film  ;  “  Out  to  Win.” 
Director  ;  Denison  Clift. 
Stage  :  Scheduled. 


Film  :  “  Mary  Queen  of  Scots.” 
Star  :  Fay  Compton. 

Director  :  Denison  Clift. 

Stage  :  Scheduled. 


Film  ;  “  Old  Bill  Through  the  Ages.” 

Director  :  Thomas  Bentley. 

Stage  ;  Scheduled. 

Isle  of  Man  Films. — -The  Manx  Studios 
Isle  of  Man. 

Not  working. 

Milton. — Weir  House,  Broom  Road, 
Teddington.  Kingston  1617. 

Studio  closed  for  structural  altera¬ 
tions. 

Minerva  Films. — 110,  Victoria  Street 
S.W.l.  Victoria  7545. 

Not  working. 

Progress  Film  Co.— Shoreham-on- 
Sea.  Shoreham  19. 

Quality  Films. — Windsor  Studios 
Catford.  Lee  Green  94  8. 

Film  ;  One-  and  two-reelers. 

Director  ;  George  A.  Cooper. 

Studio  Manager  :  S.  Folker. 

Cameraman  ;  R.  Terreaneau. 

Stage  :  One  a  week. 

Raleigh  King  Productions. — Wat- 
combe  Hall,  Torquay. 

Studio  Vacant. 

Regulus  Films. — 4  8,  Carnaby  Street, 
Regent  Street,  W.l. 

Not  working. 

Samuelson  Film  Co. — Worton  Hall, 
Isleworth. 

Film  ;  “  A  Royal  Divorce.” 

Director  :  G.  B.  Samuelson. 

Stars  :  Gwilym  Evans  and  Gertrude 
McCoy. 

Stage  :  Seventh  week. 

Seal  Productions.  —  171,  Wardour 
Street.  Regent  4329. 

Not  working. 

Screenplays. — Cranmer  Court,  Clap- 
ham.  Brixton  2956. 


WE  CAN  DELIVER  FROM  STOCK 

The  Columbia  12  in.  by  2  in-  Silver-tipped 
Carbons  for  Wohl  and  other  Studio  Lamps. 

Recommended  by  Wohl's  as  the  only  suitable  Carbon 
for  their  Lamps. 

UNITED  KINGDOM  PHOTOPLAYS,  Ltd 

29a,  CHARING  CROSS  ROAD,  W.C.  2. 

’Phone  :  Gerrard  8742. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


CC 


'Phone 


DEBRIE 


M 

Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER. 

23,  Mortimer  Street,  London,  W.  i 


ReceN?B255  Quality  &  Service  wa|^'Rst 

100%  FILM  1002 

twmmmk  DevelopersSi  Printers  LO(JROH' 


15 


THE  MOTION  PICTURE  STUDIO 


January  13,  1923 


Studio  Artistes 

Should  not  miss  the 
original  and  only  Film 
Fan  Monthly  Magazine 


Order  it  from 
your  Newsagen t. 


Send  the  Editor  of  “The  Picturegoer”  any  news 
of  your  movements  and  incidents  that  would  make 
interesting  “copy”  and  copies  of  all  your  most 
up-to-date  portraits  and  stills. 


THE  PULSE  OF  THE  STUDIO — Continued  from  previous  page. 


Route  :  ’Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll.- -Temple  Road,  Cricklewood. 

Willesden  3293. 

Route  :  ’Bus  No.  16. 

Studio  Manager  :  J.  Grossman. 

Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart  Rome 
and  Edith  Bishop. 

Cameraman  :  D.  P.  Cooper. 

Stage  :  Completed. 


Film  :  “  Top  of  the  World.” 
Director  Maurice  Elvey. 
Stage  :  Scheduled. 


Film  :  “  Open  Country.” 

Director  :  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  David 
Hawthorne.- 

Cameraman  :  A1  Moise. 

Stage  :  Completed. 


Film  :  “  Sherlock  Holmes  ”  Stories. 
Director  :  George  Ridgwell. 

Star  :  Eille  Norwood. 

Cameraman  :  A1  Moise. 


Film  :  “  The  Sign  of  Four.” 


Director  :  Maurice  Elvey. 

Star  :  Eille  Norwood. 

Cameramen  :  .Tack  Cox  and  A1  Moise. 
Stage  :  Ninth  week. 


Film  :  “  The  Wandering  Jew.” 
Star  :  Matheson  Lang. 
Director  :  Maurice  Elvey. 
Stage  :  Scheduled. 


Film  :  “  Guy  Fawkes.” 
Director  :  Maurice  Elvey. 
Stage  :  Scheduled. 


Films  :  Two-reel  dramas.  “  Fu 
Manchu.” 

Director  :  A.  E.  Coleby. 

Stage  :  Scheduled. 

J.  Stuart  Blackton. — Bush  House, 
Aldwych.  Central  1935. 

Film  :  “  The  Virgin  Queen.” 
Director  :  J.  Stuart  Blackton. 

Star  :  Lady  Diana  Manners. 
Cameraman  :  Nicholas  Masurca. 
Stage  :  Cutting  and  assembling. 
Walker-Boyd  Sunshine  Productions. 
Film  :  “  There  and  Back.” 

Director  :  Martin  Walker. 

Stage  :  Scheduled. 


Walter  West  Productions. — Princes 
Studios,  Kew  Bridge.  Chiswick 
574. 

Route  :  ’Bus  Nos.  27,  105. 

Broad  Street  to  Kew.:  A.m.,  8.2, 
8.20,  8.45.  9.0,  9.47,  10,17,  10.47, 

11.17,  11.47;  p.m.,  12.17,  12.47, 

1.17,  1.47,  2.17,  2.47,  3.17,  3.47, 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40, 

6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 

8.47,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street : 
A.m.,  9.40/  10.8,  10.38,  11.8, 

11.38;  p.m.,  12.8,  12.38,  1.8, 

1.38,  2.8,  2.38,  3.8,  3.38.  4.8,  4.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20, 

6.38,  7.8,  7.38,  8.8,  8.38.  9.8,  9.38, 
Film  :  “  The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Florence  Turner,  Kathleen 
Vaughan,  Nora  Swinburne,  Fred 
W right,  and  James  Knight. 

Stage  :  Cutting  and  assembling. 


Film  :  “  The  Lady  Trainer. 
Star  :  Violet  Hopson. 
Scenarist  :  J.  Bertram  Brown. 
Cameraman  :  G.  Toni. 
Director  :  Walter  West. 

Stage  ;  Fourth  Week. 


Welsh  Pearson. -^41-4  5,  Craven  Park. 
Harlesden,  N.W.10.  Willesden 
2862. 

Route  :  ’Bus  No.  18. 


Film  :  “  Tip-Toes.” 

Star  :  Betty  Balfour. 

Director  :  G.  Pearson. 

Cameramen  :  Percy  Strong  and 
Emile  Lauste. 

Stage  :  Third  week. 


Order  Your  Copy 


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C.  F.  ANDERSON  6?  SON 

A  Good  Day  .  . 

13,  Essex  Road,  N.l.  Telephone  Dalston  1840. 

in  your  Studio 

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Printed  and  Published  bv  ODHAMS  PRESS  Ltd.,  Long  Acre,  January  13,  1923 


The  Motion  Picture  Studio,  Saturday,  January  20,  1923 


Registered  at  the  G.P.O.  as  a  new 


The  ChfficictL  Organ  of  the  l<oinema  Clu,b 

Twopence 


Saturday,  January  20,  1923 


1  Suite  13,  PALACE  HOUSE,  | 

]  128-132,  | 

l  SHAFTESBURY  AVENUE,  I 

I  W.l.  | 


|  Telephones  :  J)  A  V  REGENT  4329  i 
1  ^  ,,  5326 

NIGHT.  Hampstead  831 1  j 
Telegraphic  Address  ; 

JAYSARTAG.  WESTCENT.  I  ONDON  | 


SIDNEY  JAY  wishes  to  announce  that  in  order 
^  to  avoid  any  possible  misunderstanding,  he 
was  responsible  for  negotiating  the  undermentioned 
engagements  during  the  past  few  months  : — 


The  Entire  Cast  of  .  “ PADDY— THE  NEXT  BEST  THING” 

(Graham  Wilcox) 

„  „  .  “THE  HYPOCRITES”  ...  (Hollandia) 

„  „  .  “BULLDOG  DRUMMOND”  ...  (  „  ) 

„  „  .  “THE  LION’S  MOUSE”  ...  (  „  ) 

The  Entire  Cast  (with  two  exceptions)  of  “  A  ROYAL  DIVORCE”  (Napoleon  Fi’m  Co.) 

,,  ,,  ,,  ,,  “  FLAMES  OF  PASSION  ”  ^Graham  Wilcox) 

The  Major  Portion  of  the  Cast  in  ...  “THE  HOTEL  MOUSE”  (British  Super) 

„  ...  “  IF  FOUR  WALLS  TOLD  ”  ...  (  „  ) 

„  „  „  „  ...  “  THE  RIGHT  TO  STRIKE  ”  „(  „  ) 

„  „  „  „  ...  “THE  FAITHFUL  HEART”  „(  „  ) 

MATHESON  LANG  &  ISOBEL  ELSOM  in  “DICK  TURPIN’S  RIDE  TO  YORK  ”  (S  oil) 
The  Major  Portion  of  the  Cast  in  WALTER  WEST  S  6  LATEST  PRODUCTIONS 
„  „  „  „  of  “HARBOUR  LIGHTS”  (Tom  Terriss)  ...  (Ideal) 

And  WANDA  HAWLEY  and  PEDRO  CORDOBA  in  Tom  Terriss’  forthcoming 

production  “FIRES  OF  FAT.E”  for  the  Gaumont  Co. 


THi -  MOTION  PICTURE  STUDI  j 


January  20,  1923 


ARTISTES 


THELMA 

MURRAY 

Character  &  Emotional  parts 
Leads  for  Stoll,  Masters, 
Raleigh  King,  B  &  C.,  etc. 
All  corns  :  “LYND.vLE.” 
OAKLEY  RD.. 
WHYTELE  \  FE,  ‘-UR  KEY, 
or  to  thf  Kinema  Club. 


NOEL  GRAHAME 

Heavy  Character  &  Comedy. 
Heavy  lead  :  “  Bladys  of  the 
Stewponey,”  “Cost  ofa  Kiss,” 
“  Britain’s  Naval  Secret,”  etc. 

11,  Clanriearde  Gardens, 

Hyde  Hark,  W.2. 
Park  4514. 
and  Kinema  Club. 

Photo  bv  Nav  nta 


DOUGLAS  WEBSTER 

Juvenile  Character  LeaJs. 
stage  Experience. 

Just  completed  “Leroy 
Lindsay”  in  “Shifting  Sandr,’’ 
(Granville  Production^). 
All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av. 
’Phone  :  Rege  t  4329. 


MARY  ODETTE 

Just  concluded  :  “The  Lion’s 
Mouse”  an  1  “The  Hypo¬ 
crites  ’’ 

Latest  Rele  ses  : 

“Wondeiful  Year’ 

“AH  Roads  Lead  to  Calvary.’’ 
All  corns.  ;  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av.,W.i 
Revent  i329. 


G  JRDON  BEGG 

Dramatic  —  Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.  11, 

Teh  phone:  Ratterse  21. 


DEZMA  DU  MAY 

‘  Long  Odds  ”  (Stoll),  “Rob 
Roy”  (Gaumont),  “  Pearl  for 
Pearl  ”  (Quality),  also  YVelsh- 
Pearson,  Alliance  Screen 
Plays,  Ideal,  Davidson’s. 

170,  HIGH  ROAD, 

ILFORD,  E 


MELINDA  LLOYD 

Alliance,  The  Councillor’s 
Wife  in  “The  Card,”  Ideal, 
Samuelson,  Granville  Pro¬ 
ductions,  Laskys,  etc. 

24,  PARK  VIEW, 
WELLING,  KENT. 


GEORGE  KEENE 

Star  Lead.  Disengaged. 
Featuring—  “  Black  Sheep,” 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters,” 

“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 
Address  : 

121b,  Church  St.,  Croydon 
'Phone  :  Croydon  835. 


PHOTO 

BLOCK 


THIS  SPACE 
TO  LET 

£3  for  13 

insertions, 
including’  c>  st  of 
making  block. 


F. 


C  R  E  M  L  I  N 


Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club 


A  R  T  I  S  T  E  3 


RO  INA  WRIGHT. 

“Sister  Ursula”  in  “  Per- 
petua  Mary  ’(Famous-Lasky) 
“The  Nurse”  to  “The  Grass 
Orphan”  (Ideal  Film). 
“Lhiliipa”  in  “Open  Country” 
(Stol  Film). 

8  years  Film  experience. 

8a,  GOLDEKb  WAY, 
GOLDERS  GREEN, N.Wll 
or  Kinema  Club. 


THIS  SPACE  TO  LET 
£2  10  0  for  13  insertions 


MILTON  ROSMER 

INVITES  OFFERS. 

16,  Weymouth  Sti  eet,  W. 1.  ’Phone:  Langham  2243 

MRS.  HUBERT  WILLIS, 

Character  and  Emotional  Parts. 

29,  St.  Peter's  Square,  W.6.  ’Phone:  Hammersmith  85, 
or  Kinema  Club.  Regent  630. 


MARIE 


A  U  L  1 


Character  and  Comedy- 

235,  Kings  Road,  Chelsea 


WARREN  HASTINGS, 

5,  1  OND  PLACE 

CHELSEA,  S.W. 3. 

_ INVITES  OFFERS. _ 

HARCOURT  TEMP  LEMAN, 

Assistant  Director  late  Screen  lays). 

At  Liberty.  Returned  from  Tour. 

Corns.  :  33,  Ennismor^  Avenue,  Chiswick,  W.4. 

COSTUMIER.  .  . 

Consult  .  .  . 

W.  CLARKSON. 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W. 

’Ph<ne;  Gerrard  612. 

SCENARISTS . 


GERALD  DE  BEAUREPAIRE. 

Editing,  Titling,  Continuities. 

62.  Fnxbourne  R<»ad  Barham,  S.W. 17 

KINCHEN  WOOD 

Late  Win.  Fox  Studios,  Los  Angeles. 

7,  Wymering  Mansions,  Maida  Vale,  W.9 


A  DOG 

with  a  w'onderful  character,  accompanied 
by  hi  master.  Invites  offers. 

C/o  “  M.  P.  Studi 


ADELINE  HAYDEN  COFFIN 

Sympathetic  Mother,  Grande  Dames. 
Character  P^rts,  “  Mrs.  Gattv,”  in  “Christie 
Johnstone  ”  (Broadwest),  “  Margaret  Howe” 
in  “  Beside  the  Bonny  Brier  Bush  ”  ( Lasky), 
“Nanny”  in  "Tell  your  Children ’’  (Interna¬ 
tiona  )  “Anna  ”  in  “  The  Prodigal  Son  ”  (Stoll). 
53.  C  ampden  St..  Kensington.  W  8. 
_ Tel.  :  Park  3623. _ 

ARTHUR  PUSEY 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagcon”  for  I.V.T.A. 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 


CAMERAMEN.  .  .  . 

ALFRED  H.  MOISE 

PREMIER  CAMERAMAN— 

:  SCIENTIFIC  OUTFIT.  : 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  ctreet,  W.C.2. 

’Phone — Regent  630. 

L.  G.  EG  ROT 

EXPERT  CAMERAMAN. 

“The  Better  ’Ole,”  etc.,  etc.,  . 

. “  The  Wonderful  Story.’' 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Pla  ce,  S.W. 2. 

’Phone  :  Streatham  3085. 


PUBLICITY 


“Let  Me  Handle  Your  Account.” 

JOHN  CORNYN 

Advertising  ::  Publicity 

231,  BYRNE  BLDG.,  Los  Angeles, 
Cal  ,  U.S.A. 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M  LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.l, 

’Phone :  Regent  4747 
or  Kinema  C'uh,  Regent  630. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39t  1  STREET, 

NEW  YORK  CITY. 
NOW  BACK  IN  LONDON. 


ADVERTISEMENT  RATES 

Professional  Cards  : 

3-col.  cards,  incmding 

photo  block  -  -  £3  0  0  per  quarter  year 

3-col.  cards,  without 

photo  block  -  -  £2  10  0  ,,  „  „ 

Small  cards  .  17  6  ,,  ,,  ,, 

‘‘Who's  Where”  (2  lines)  12  6  ,,  „  ,, 

Per  inch,  single  col. 

(3  to  jrage)  -  5  0,,  insertion 


WILLIE 

DAVIES 

KINEMA  ART  EXPERT , 

161a,  HIGH  STREET, 
KENSINGTON,  S.W. 

Latest  Super  Productions  : — ■ 

“  Carnival.”  “  Bohemian  Girl.” 
“  Love  in  a  Whirlwind.” 


2 


January  20,  1923 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices, 
93.  Long  Acre, 
London,  W.C.2. 


Vol.  2  No.  85 


Telegrams— 
Southernwood,- 
Rand,  London. 
Telephone — 
Gerrard  9870. 


Jan.  20,  1923 


The  Star  and  the 
Story  Too 

Ak  FORTNIGHT  ago  we  published 
under  the  heading  of  "  Star  or 
Story?  ”  our  views  on  certain  aspects  of 
this  vexed  question,  m  which  we  deplored 
the  suggestion  current  in  some  quarters 
that  the  two  factors  in  the  photoplay  were 
incompatible.  “  The  play’s  the  thing  ” 
is  as  true  to-day  as  it  was  in  1 602 — although 
Hamlet’s  dramatic  effusion  suffered  some¬ 
what  from  a  tinge  of  personal  propaganda  ; 
and  we  regard  the  exploitation  of  personality 
as  a  necessary  evil  m  view  of  the  enormous 
success  and  popularly  of  the  screen  as  a 
medium  for  doing  so.  Our  chief  point  is, 
however,  that  such  exploitation,  when  part 
of  a  sound  story’s  development,  is  not  an 
evil  at  all,  but  quite  the  reverse  ;  and  we 
have  since  noticed  a  confirmation  of  our 
view  in  the  American  journal,  Camera — a 
publication  whose  mission  as  representative 
of  studio  workers’  interests  corresponds 
closely  to  that  of  the  MOTION  PICTURE 

Studio. 

Stars  who  Realise 
Story  Values 

quote  the  following  from  our 
Transatlantic  prototype  :  “  The 

two  prime  leaders  among  the  stellar  per¬ 
sonalities  of  the  screen,  Charlie  Chaplin 
and  Mary  Pickford,  have  continued  to  rule 
supreme  because  they  usually  demanded 
material  to  work  with.  If  either  had 
permitted  egotism  to  lead  them  into  pre¬ 
senting  any  kind  of  a  story  in  the  belief 
that  the  public  simply  wanted  them  under 
any  circumstances,  their  finish  as  drawing- 
cards  would  have  come  long  ago.  Fre¬ 
quently  Mr.  Chaplin  appears  in  a  comedy 
of  distinct  merit — a  comedy  which  would 
score  a  hit  even  without  him,  and  Miss 
Pickford  has  even  more  frequently  pre¬ 
sented  character  studies  in  the  midst  of 
superior  narratives  which  would  command 
popularity  if  properly  offered  by  anyone 
capable  of  *  doing  ’  such  parts.” 

A  Matter  of 
Personality ,  Too. 

“  XT  ATURALLY  the  personality  of  each 
has  helped  matters  along  prodigi¬ 
ously  in  every  story  they  have  essayed,  but 
no  master  or  mistress  of  the  histrionic  art 
could  be  constantly  saving  bad  stories  by 
dint  of  his  or  her  own  particular  ability.  It 
is  to  be  hoped  that  many  other  stars  will 


learn  this ;  it  is  also  to  be  devoutly 
hoped  that  producers  will  see  it  and  act 
accordingly.” 

The  “  Let-down  ” 
of  the  Star 

must  be  obvious  that  the  placing  of 
the  star  as  the  one  reliable  factor  in 
a  picture  is  a  policy  doomed  to  disaster — 
and  disaster  which  is  the  more  complete 
because  its  results  are  not  immediately 
felt.  There  are  many  instances  of  first- 
class  players  being  ”  let  down  ”  by  one  or 
two  bad  stories  and  finding  it  subsequently 
difficult  to  regain  popularity  even  with  a 
good  one.  Those  responsible  fell  into  the 
crass  error  of  thinking  that  the  public 
would  like  the  stars  irrespective  of  the 
merits  of  the  story.  The  reverse  is  the 
case.  Personally,  we  often  go  to  see  a 
picture  featuring  this  or  that  player  because 
our  experience  tells  us  that  he  (or  shef 
usually  is  cleverly  exploited  in  a  good 
story  ;  and  the  picture  public  are,  con¬ 
sciously  or  unconsciously,  actuated  by  the 
same  feelings. 

How  can  they 
Tell  ? 

must  not  be  overlooked  that  at  present 
the  star’s  name  is  the  only  indication 
of  the  film’s  merit  accessible  to  the  out¬ 
side  public,  who  are  not  as  yet  students  of 
film  criticism.  It  follows,  then,  that  the 
star  who  wishes  to  remain  scintillating  in 
the  firmament  of  favour  must  always  be 
provided  with  good  story  material  as  a 
vehicle  ;  and  it  is  only  justice  to  add  that 
the  most  intelligent  American  directors 
recognise  this  fully.  Would  that  all 
directors — and  heads  of  firms — did  the 
same  !  There  would  be  more  hope  for 
the  scenarist,  who,  in  time,  might 
even  persuade  those  in  authority  to  film 
a  story  for  its  own  sake  ! 

Hustle  and  its 
Evils 

HE  '  1  sausage-machine  ”  producing 
organisation  is  by  no  means  a 
peculiar  product  of  America.  It  is  difficult 
to  say  which  is  worse — the  picture  which 
takes  so  long  that  the  original  enthusiasm 
of  those  concerned  turns  from  apathy  to 
loathing,  and  the  enormous  overhead 
charges  make  a  financial  return  seem  more 
and  more  remote,  or  the  picture  ‘  shot 
against  time  under  a  system  which  penalises 
those  who  exceed  its  inadequate  duration, 
and  is  scrambled  through  in  a  frenzy  of 


energy  which  destroys  any  possibility  of 
inspired  or  thoughtful  work.  Artistically 
we  prefer  the  former  extreme.  A  recent 
production  has  been  made  in  a  protracted 
burst  of  feverish  energy  which  has  entailed 
an  enormous  amount  of  night  work — 
presumably  to  save  time  on  production. 
We  hope  the  aitistic  and  even  the  financial 
result  will  justify  the  rush  ;  but  we  are 
quite  satisfied  that  the  artistes — not  only 
“  crowd  ’  and  small  part  players,  but 
principals  also — found  the  strain  and 
occasional  hardships  of  many  consecutive 
hours’  work  under  uncomfortable  con¬ 
ditions  a  real  obstacle  to  their  giving  of 
their  best. 

Not  Yet 
Extinct 

HE  overwhelming  majority  of 
producers  and  others  who  engage 
artistes  to-day  are  men  of  decent  instincts 
and  scrupulous  demeanour  to  those 
approaching  them.  It  is  in  the  interests 
of  the  white  men  we  all  know  that  the 
elimination  of  the  occasional  pestilential 
libertine  is  most  desirable,  and  we  are  glad 
to  say  that  the  number  of  instances  of 
offensive  behaviour  to  young  girl  artistes 
is  apparently  steadily  on  the  wane. 
Occasionally,  however,  a  complaint  reaches 
us  which  indicates  that  the  voluptuary  in 
authority  still  exists.  An  attractive  young 
artiste  of  experience  was  subjected  to  an 
outrageously  cool  proposal  of  the  obvious 
kind  last  week  by  a  man  whose  name  is, 
we  regret  to  say,  well  known  in  the  field 
of  British  production.  We  are  quite 
satisfied  that  the  complaint  was  fully 
justified,  but,  of  course,  the  offender  was 
careful  and,  therefore,  quite  safe.  He  will 
remain  safe  by  being  more  careful  still. 

“  Advertising 
April” 

CYBIL  THORNDIKE’S  new  play, 
^  with  the  above  title,  deals  with  the 
Press-agent  husband  of  a  famous  film-star, 
so  we  are  told.  We  are  not  sure  whether 
we  ought  to  protest  against  this  fresh 
instance  of  letting  the  public  behind  the 
scenes  !  ”  On  reflection,  we  don’t  think 
we  will.  Rather  will  we  endorse  ^the 
comment  of  our  esteemed  Carados  of 
the  Referee  :  “  Here  and  now  I  will  defy 
the  authors  to  invent  any  Press  stunts  to 
equal  in  wild  ridiculousness  most  of  those 
sent  around  from  time  to  time  ! 


3 


THE  MOTION  PICTURE  STUDIO 


January  20,  1923 


Several  Directors  have  explained  to  us  the  ddficu  ty 
they  have  of  getting  quickly  into  touch  artl®'e5 

and  others  whom  they  need  for  them  productions  and 
have  suggested  that  we  publish  addresses  and  -elephone 
numbers  of  such. 


ASHTON,  CHARLES.  Crantock,  Hainault 
Road,  Leytonstone,  E.,  or  Kinema  Club. 

ATWOOD,  ALBAN :  25,  Stanley  Crescent, 

W.  11.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.ii.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercorn  Place,  N.W. 
Hampstead  3U83. 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

CAREW,  JAMES,  15,  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3904 

CHESNEY,  ELIZABETH  :  c/o  Miss  Morris, 
25,  Clevedon  Gardens,  W.2.  (Fiat  4j. 
Padd.  5844. 

DARLEY,  BERT,  Kinema  Club,  9,  Great 
New  port  Street.  Regent  630. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
Redcliffe  Gardens,  SAV.10  'Phone: 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.i  1.  Park  2077. 

ESMOND,  ANNIE,  43,  Richmond  Road, 
Westbou  ne  Grove,  W  2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

GRACE,  ADELAIDE,  103,  Morshead 
Mansions,  Maida  Vale,  W.  9. 

GREGORY,  FRANK,  Character ,  107,  St. 
Alban's  Avenue,  W.4. 

HARRIS,  GEORGE,  33,  Torrington  Square, 
W.C.l. 

HOPE,  MARGARET,  Character  and  Juvenile 
Leads.  Late  Ideal,  Masters,  Stolls,  etc., 
etc.,  5,  Balcombe  Street,  Dorset  Square, 
N.W.i.  Padd.  2284. 

HOWARD,  LIONELLE  :  108,  Alderbrook 
Road.  Balham,  S.W.12. 

HUNTER,  ALEX.  G.,  222,  Camberwell 
New  Road,  S.E 

JONES,  T.  ARTHUR:  “High  Tor,’’ 
Summer  Road,  Hampton  Court. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  630. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977. 

NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  ;  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

PAXTON,  SYDNEY:  28,  Bedford  Place, 
Russell  Square,  W.C.  Museum,  7235. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell,  S.E. 5. 


RAYNER,  MINNIE  :  Kingwater  Cottage, 
Church  Walk,  Thames  Ditton. 

RAYNOR,  ALBERT  E.,  “  Strathmore,” 
Spencer  Road,  Chiswick,  W.4. 

ROME,  STEWART  :  10,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  32.  Lauderdale  Mans., 
Maida  Vale.  Maida  Vale  2177. 

SHEE,  FLORENCE:  221,  Elgin  Avenue, 
W.9.  Messages  Paddington  6036. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres^ 
cent.  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  15,  Grove 
Mansions,  North  Side,  Clapham  Com¬ 
mon  12.  Latchmere  4343. 

STEERMAN  A.  HARDING:  56  Portland 
Road,  W.11.  Park  2529. 

STERROLL,  GERTRUDE :  14,  Queen's 

Road.  St.  John’s  Wood,  N.W.8 

TEMPLETON,  BEATRIX:  20,  Foxglove 
Street,  Wormholt  Estate,  W.  12. 

THATCHER,  GEORGE :  33,  Denbigh 

Street,  Belgrave  Road,  S.W.  Victoria 
2060. 

TOD  MALCOLM,  The  Kinema  Club,  9, 
Gt.  Newport  St.,  W.C. 2. 

TREE,  MADGE  :  15,  Lancaster  Court,  New¬ 
man  St.,  W.i.  Museum  7241. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 
630. 

WALCOTT,  ARTHUR  :  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  630. 

WILLIS,  HUBERT,  Mrs.,  29,  St.  Peter’s 
Square,  W.6.  Hammersmith  85. 

YORK,  CECIL  MORTON  :  Kinema  Club, 
9,  Great  Newport  Street.  Regent  630. 

Two  lines ,  12s.  6d.  per  thirteen  insertions, 
or  £ 2  5s.  for  a  year,  prepaid. 

Extra  lines,  is.  per  insertion. 


“  T HE  most  useful  column,  to  my  mind, 
and  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  is  ‘Who’s 
Where.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.” 

CHALLIS  N.  SANDERSON. 

“  T  PERSONALLY  would  like  to  see 
-*■  more  artistes  using  vour  space  under 
the  heading  of  ‘  Who’s  Where.’  ” 

H.  B.  PARKINSON. 
“  'T’HE  column  which  is  of  most  service 
to  us,  and  which  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  ” 
NORMAN  WALKER  (Capt.),  Alliance  Films. 


To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
- SUPPLIED - 

From  your  own  Photo,  in  best  glossy  style  : — 
One  position,  per  gross  -  ...  -  17/6 

Two  positions,  Half  gross  of  each  -  30/- 

Single  dozen  -  --  -  -  -  -  -  -  3/5 

Enlargements,  each . 10/6 

Samples  can  be  seen  at 
THE  PICTURE  SALON, 

88,  Long  Acre,  W.C.2. 


The  Vade  Mecum  of 
the  Film  Business: — 

THE 

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4 


January  20,  1923 


THE  MOTION  PICTURE  STUDIO 


HIGH  LIGHTS 


Intimate  Studio  and  Club  Gossip 


The  latest  importation  o>f  American 
stars  for  British  pictures  is  of 
special  interest.  Wanda  Hawley,  we 
are  informed  is  coming-  to  play  for 
Gaumont  in  the  first  picture  to  be 
directed  at  Shepherd’s  Bush  bv  Tom 
Terri ss.  This  is  a  version  of  “The 

Fires  of  Fate,’’  Sir  Arthur  Conan 
Doyle’s  play,  in  which  the  late  Lewis 
Waller  scored  heavily  at  the  Lyric 
Theatre  some  ten  years  ago.  The  play 
was  based  on  the  author’s  well-known 
story  “The  Tragedy  of  the  Korosko .” 
Wanda  Hawley,  who  was  raised  to 
stardom  over  a  year  ago-,  is  a  fas¬ 
cinating-  blonde,  whose  vogue  in 
American  kinemas  is  undoubted,  and 
whose  popularity  on  this  side  is 
equally  undeniable.  Wanda  is  already 
on  the  way. 

*  *  * 

I  was  sorry  to  hear  that  Violet  Hopson 
had  a  nasty  spill  from  her  horse  a 
few  days  ago,  which  has  incapacitated 
her  for  studio  work  ever  since.  Walter 
West  assures  me  her  injuries  are  not 
very  serious,  and  that  her  one  anxiety 
is  the  production  of  “The  Lady 
Trainer.”  Everyone  will  wish  her  a 
speedy  recovery  and  resumption  of 
activity. 

*  *  # 

Desperate  scenes  have  lately  been 
made  for  British  pictures.  The 
Battle  of  Waterloo — an  episode  in 
Samuelson’s  “A  Royal  Divorce” — was 
staged  last  week  on  a  vast  scale  at 
Aldershot.  Bad  luck  as  regards 
weather  meant  an  extra  day’s  delay, 
but  the  actual  fighting  scenes,  with  the 
manipulation  of  the  opposing  “armies,” 
were  full  of  excitement,  especially 
when  a  slightly  premature  explosion 
imparted  an  unrehearsed  touch  of 
realism  by  alarming  those  in  the 
vicinity.  A  very  old  soldier  who  was 
present  is  reported  to  have  declared 
that  it  was  better  than  the  original 
battle,  at  which  he  was  present;  but 
this  testimony  is  regarded  with  sus¬ 
picion. 

*  -*• 

Excitement  of  a  slightly  richer  kind 
characterised  the  highly  thrilling 
depiction,  on  board  a  large  and  ancient 
vessel  not  far  from  the  No  re,  of  a 


fierce  mutiny  of  deported  convicts. 
The  lights,  noise  of  old  firearms,  and 
hand-to-hand  encounters  at  dead  of 
night  caused  much  misgivings  to  those 
aboard  passing  craft.  Those  who 
inquired  were  soon  enlightened.  So 
far  from  it  being  another  war,  a 
boiler-makers’  wayzgoo-se,  or  a  Fas- 
cisti  merchant  enterprise,  the  truth 
came  out  that  George  Ridgwell  was 
shooting  the  big  scene — full  of  “rough 
stuff  ” — in  the  Sherlock  Holmes 
episode  of  “The  Gloria  Scott.” 

*  * 

Tom  Terriss,  who  has  just  joined 
Gaumont,  is,  of  course,  the  son  c-f 
the  late  William  Terriss  and  brother 
of  Ellaline  Terriss.  He  has  been  a 
successful  American  director  for  some 
years,  and  has  just  concluded  for  Ideal 
“The  Harbour  Lights,”  with  Torn 
Moore,  specially  imported,  in  tjre  lead¬ 
ing  role. 

*  *  * 

Terriss  addressed  the  Stoll  Picture 
Theatre  Club  last  week  on  British 
picture  making,  and  his  remarks  were 
greatly  appreciated.  He  defended, 
amongst  other  things,  the  importa¬ 
tion  of  American  stars  for  our  pictures 
with  the  object  of  endowing  them  with 
drawing  power  on  the  other  side. 

#  % 

It  was  amusing  to'  hear  Terriss  say 
how  different  things  were  over  here. 
He  complained  that  the  men  control¬ 
ling  American  production  were  in  many 
cases  uncultured,  ignorant  and  coarse 
types,  who  stifled  art  and  hampered 
development  !  He  is  quite  right- — and 
very  luck)-  to-  have  kept  clear  of  one 
or  two  examples  in  the  dear  homeland  ! 

*  * 

Evelyn  Brent  has  been  selected  to  play 
opposite  Douglas  Fairbanks  in  his 
new  super-production 5  and  is  now  hard 
at  work  in  the  Fairbanks  studio-.  This 
interesting  engagement  was  secured 
by  the  ubiquitous  Sydney  Jay. 

* 

K  athleen  Mason’s  lectures  are  doing 
a  lot  of  good  unobtrusively,  and  I 
wonder  whether  the  Kinema  Club’s 
proposed  debating  section  will  mate¬ 


rialise  this  winter?  There  are  many 
authoritative  people-  who  would  gladly 
come  and  speak  for  the  asking.  It 
only  wants  some  active  spirit  to-  get 
the  project  going,  and  we  are  quite 
sure  that  some  of  the  club  members 
would  welcome  an  extended  circle  for 
the  expression  of  their  views. 

*  * 

Paul  Kimberley,  O.B.E.,  had  lunch 
with  me  at  the  Club  one  day  this 
week.  The  whole  industry  learns  with 
unfeigned  pleasure  of  a  considerably 
renewed  activity  at  the  Walto-n-on- 
rhames  studios.  The  house  of  Hep- 
worth,  apart  from  the  excellence  of 
its  products,  has  a  reputation  for 
straight  dealing  and  a  long  record  of 
exfctta  ordinary  iinteiriest  w;hich  makes 
even  a  temporary  eclipse  a  matter 
affecting  the  prestige  of  our  business. 
The  number  of  well-known  figures  in 
our  midst  who  have  graduated  under 
its  auspices  at  some  time  c-r  other  is 
amazing ;  and  now  that  production  is 
apparently  at  full  blast  again  we  wish 
every  prosperity  to  what  is  probably 
the  oldest-established  film  production 
organisation  now  extant. 

*  *  * 


Judging  by  their  hale  appearance, 
Stewart  Rome,  Cameron  Carr, 
Arthur  Walcott  and  Richard  Lindsay 
are  a  very  bad  advertisement  for 
“suffering  Germany,”  and  the  Ruhr 
advance  would  seem  to-  be  almost 
justified.  George  Dewhurst  is  doing 
cutting  in  Berlin,  but  returns  during 
the  coming  week,  with  “What  the 
Butler  Saw,”  and  “The  Uninvited 
Guest  ”  completed. 


The  Progress  studios  at  Shoreham- 
b-y-Sea  narrowly  escaped  destruc¬ 
tion  by  fire  in  the  recent  conflagration 
which  gutted  several  bungalows. 
Considerable  difficulty  was  encountered 
in  combating  the  flames,  and  the 
bungalow  of  a  well-known  stage  and 
screen  actor  was  badly  damaged.  But 
for  a  lucky  change  in  the  wind  the 
studio  would  have  been  involved  or, 
as  I  heard  it  put,  if  the  wind  had 
gone  east,  the  studio  would  have 


(1 


gone  west. 


<nr»-£— 


5 


THE  MOTION  PICTURE  STUDIO 


January  20,  1923 


Literary  Values  and  the  Photo-play 

The  Need  for  their  more  Careful  Consideration 


A  FAIR  amount  has  lately  appeared 
about  continuity  writing  in  various 
journals,  though,  to  my  mind,  strangely 
little  has  been  said  regarding  the  story 
aspect  of  photo-play  construction. 
Scenarists  are  fast  winning  honours  as 
continuity  writers,  pure  and  simple,  but 
leigtimate  screen  dramatists — who  write 
stories  besides  adapting  them — have  by 
no  means  mastered  their  craft,  as 
abundant  evidence  .will  testify. 

At  the  present  moment  scenarists  are 
bitterly  complaining  that  directors  have 
still  a  prejudice  against  original  stories. 
Well,  is  it  to  be  wondered  at?  So  far  as 
I  can  see  few  original  stories  are  written  ! 

I  do  not  infer  that  wViters  are  tired  of 
writing  plays  specially  for  screen  adapta¬ 
tion  :  I  mean,  so  many  stories  are  written 
— and,  worse  still,  submitted  1 

To  begin  at  the  beginning.  It  is  a  very 
regrettable  fact  that  there  are  many  really 
capable  scenarists  to-day  who  are  endea¬ 
vouring — conscientiously'  they  imagine!  — 
to  write  “  originals  ”  for  the  screen,  but 
fail  hopelessly  at  the  game,  simply  be¬ 
cause  they  do  not  attach  sufficient  import¬ 


in’!  I  flagrant  scorn  for  popular  super¬ 
stition,  Maurice  Elvey  and  Isobel 
Elsom  were  quietly  married  last  Satur¬ 
day — the  13th  of  the  month. 

Maurice  Elvey  has  not  lost  his  faculty 
for  dramatic  values,  and  the  announce¬ 
ment  on  Monday  was  in  the  nature  of  a 
happy  revelation — it  was  rather  too  sud¬ 
den  to  he  called  a  climax,  perhaps,  but 
the  surprise  was  as  genuine  as  could  be 
wished  for  in  any  scenario  !  The  Motion 
Picture  Studio  hastens  to  offer  both  Mr. 
and  Mrs.  Elvey  its  heartiest  felicitations — 
belated  only  on  account  of  our  last  issue 
being  on  sale  on  their  wedding  day. 

The  happy  couple  became  engaged  dur¬ 
ing  and  filming  of  “  Dick  Turpin’s  Ride 
to  York,”  and  the  marriage  took  place  at 
the  Marylebone  Road  Registry  Office — 
quite  a  small  “  set  ”1 

Maurice  Elvey  has  produced  about 
eighty  films  or  thereabouts,  and  his  asso¬ 
ciation  with  Stoll,  Ideal,  and  the  London, 
are  pages  of  British  film  history.  Few 
other  Englishmen  can  even  approach  his 
record.  He  was  formerly  on  the  West 
End  (Stagev  We  will  not  attempt  to 
enumerate  his  pictures.  Lie  his  most 
noteworthy  of  recent  years  have  teen 
‘‘Bleak  House,”  “Mr.  Wu,”  “The 
Elusive  Pimpernel,”  and  “  The  Fruitful 
Vine.”  He  is  now  completing  “The 
Sign  of  Four,”  for  Stoll,  and  from  whis¬ 
pers  that  reach  us  it  should  be  worthy  to 
rank  with  his  very  best.  He  is  an  inde- 


by  F.  RUPERT  CREW 

ance  to  the  understanding  of  literary 
values  and  dramatic  construction.  The 
few*  original  plays  that  do  find  their  way 
to  the  screen  are,  as  a  rule,  hopelessly 
hackneyed  in  plot,  and  entirely  devoid  of 
literary  value.  This  fact  then  points  only 
too.  clearly  that  their  writers  owe  little  or 
nothing  to  the  fiction-yvriter’s  craft;  have 
made  no  attempt  to  study  the  methods 
employed  by  successful  novelists  and 
dramatists ;  and  have  never  analysed  the 
reasons  why  certain  plays  and  novels  have 
enjoyed  such  popularity. 

I  am  of  the  opinion  that  until  the  ambi¬ 
tious  screen  dramatist  takes  the  craft  of 
the  story-teller  seriously',  he  will  never 
“  make  good.”  If  I  ran  a  school  for 
scenarists,  I  would  first  of  all  endeavour 
to  make  the  pupils  learn  the  technique  of 
fiction  writing — from  a  theoretical  point 
of  view.  Of  course,  I  should  not 
attempt  to  make  them  story  writers, 
but  I  Would  insist  upon  them  obtain¬ 
ing  a  thorough  grasp  of  the  rules 
that  govern  this  branch  of  literary  ex¬ 
pression.  At  the  very  least,  I  would 
have  them  acquainted  with  the  technique 


fatigable  worker,  with  the  unerring  know¬ 
ledge  that  only  long  experience  can  bestow 
and  his  methods  of  handling  his 
players  are  effective  chiefly  by  reason  of 
his  quiet  patience  and  considerate  explan¬ 
ation.  The  Stoll  Company  have  certainly- 
found  him  a  most  valuable  servant,  for 
it  was  under  his  guidance  that  the  system 
and  methods  of  production  at  Surbiton, 
and  later  at  Cricklewood,  were  inaugur¬ 
ated.  Probably  more  illustrious  personali¬ 
ties  of  the  British  stage  have  been 
handled  bv  him  than  by  any  other  man. 

Isobel  Elsom,  after  a  sound  training  on 
tour,  first  broke  in  on  the  West  End  at 
the  Gaiety  Theatre  in  “  After  the  Girl,” 
in  1914— a  somewhat  mediocre  musical 
comedy  which  gave  her  little  chance  even 
in  the  leading  role,  which  George  Ed- 
wardes  had  kept  secret  until  the  last 
moment.  However,  she  succeeded  Gladys 
Cooper  in  “My  Lady’s  Dress,”  a  little 
later,  and  since  then  has  been  one  of  the 
most  charming  and  characteristically 
British  of  musical  play  heroines.  Her 
early  films  soon  revealed  her  photographic 
qualities,  and  she  has  since  been  divided 
in  her  allegiance  to  stage  and  screen. 
Elvey  has  handled  he  twice  recently,  in 
“Dick  Turpin’s  Ride  to  York,”  and  “The 
Sign  of  Four.”  She  is  at  present  at  the 
Ambassadors  Theatre  in  “  Sweet 
Lavender,”  and  as  her  husband  is  very 
much  occupied  also,  the  honeymoon  is 
being  “  scheduled.” 


of  both  the  novelist  and  the  dramatist, 
and  thereby  they  would  gain,  first  and  fore¬ 
most,  a  thorough  knowledge  as  to  how  a 
story  should  be  constructed. 

For  only  in  this  way,  I  think,  is  it  pos¬ 
sible  for  a  photodramatist  to  fully  under¬ 
stand  the  methods  of  not  only  plot-con¬ 
struction,  but  characterisation  and  atmo¬ 
sphere.  I  would  also  insist  that  he 
studied  the  form  of  the  short  story.  This 
branch  of  fiction-writing  is  more  closely 
related  to  the  photoplay  than  is  generally 
imagined.  For  both  forms  of  expression 
need  to  be  told  in  action,  and  to  possess 
the  same  subtle  atmosphere  and  charac¬ 
terisation. 

The  would-be  successful  screen  drama¬ 
tist  of  to-day  cannot  do  better  than  study 
the  art  of  fiction  and  play-writing,  if  he 
would  “  make  good  ”  as  a  writer  of 
original  stories.  Before  attempting  to  tell 
stories  himself,  is  it  not  only  reasonable 
to  expect  that  he  should  know  how  to 
tell  them?  In  order  to  gain  this  know¬ 
ledge,  he  should  read  fiction  largely.  Not 
only  that,  but  he  should  readi  every  book, 
and  see  every  play  with  a  critical  mind. 
He  should  educate  himself  to  determine 
why  this  or  that  book  proved  a  “  best 
seller  ” — or  one  of  great  recognition. 

Further,  he  should  bear  in  mind  that  in 
every  book  which  has  earned  universal 
approval,  there  is  something — often  hidden 
in  it — that  has  commanded  its  reward. 
It  may  be  in  the  narration,  the  characters, 
the  atmosphere,  the  general  treatment,  or 
the  idea  of  the  theme.  It  makes  no  dif¬ 
ference  which  of  these  it  happens  to  be — 
it  is  there  !  The  young  scenarist  should 
be  able  to  find  it. 

Although  I  am  not  a  great  believer  in 
text-books  on  most  subjects,  yet  I  do  be¬ 
lieve  that  there  are  one  or  two  published 
on  the  novel,  the  short  story,  and  the 
drama,  that  might  prove  of  considerable 
assistance  to  the  ambitious  screen  play¬ 
wright.  Most  particularly  would  I  draw 
his  attention  to  that  very  excellent  trea¬ 
tise  of  the  modern  short  story  by  J.  Berg 
Essenwein.  This  is  a  wonderful  work, 
and  should  be  in  the  hands  of  every  asoir- 
ing  story  writer. 

At  the  risk  of  repeating  what  I  have 
said  in  some  of  my  articles  before,  I  ven¬ 
ture  once  again  to  say  that  those  indivi¬ 
duals  who  honestly  believe  that  they  have 
it  in  them  to  achieve  success  as  photo¬ 
dramatists — and  I  know  from  persona! 
experience  there  are  a  great  number  who 
can  ! — learn  to  tell  your  story  first  !  Don’t 
bother  vour  heads  too  much  about  con¬ 
tinuity  writing.  If  you  'have  a  really  good 
and  original  story  told  in  a  thousand 
words,  believe  me,  it  stands  a  far  greater 
chance  of  production  than  the  most  per¬ 
fectly  constructed  continuity  with  a  thin 
story.  So,  for  a  beginningj  at  any  rate, 
read  and  study  fiction.  “  Get  ”  the 
methods  of  successful  writers,  and  remem¬ 
ber  that  even  if  “  the  story  has  not  been 
the  thing  ”  in  the  past,  it  will  be  in  the 
future ! 


Maurice  Elvey  and  Isobel  Elsom 

Married 

Popular  Star  and  Famous  Producer  si&n  life  contract  in  Marylebone 


6 


January  20,  1923 


THE  MOTION  PICTURE  STUDIO 


Kinema  Club  News 


Catering  Control 

TV’EW  jmtering  arrangements  are  being 
rr Tacit  at  the  club.  It  has  been  most 
gratifying  to  note  the  steady  improvement 
in  this  important  side  of  the  life  of  the 
club  since  it  was  decided  some  months  ago 
to  place  it  under  the  direct  control  and 
management  of  club  members.  This  im¬ 
provement  has,  not  unnaturallv,  been 
followed  by  a  considerable  increase  in 
receipts. 

I  he  thanks  of  the  club  are  due  to  Irene 
Ridgwell,  Betty  Farquhar  and  H.  Lisle 
Lucoque,  who  have  personally  carried  on 
the  catering  department  during  the  past 
four  months.  To-day  (Saturday)  they  re¬ 
linquish  their  control  to  the  House  Com¬ 
mittee,  who  will  maintain  the  service 
without  interruption.  But  for  the  unselfish 
efforts  of  those  who  stepped  into  the  breach 
at  a  critical  time  it  is  highly  probable 
that  all  catering  would  have  been  for  the 
time  being  suspended,  with  serious  ad¬ 
verse  effect  on  the  social  amenities  of 
members. 

I  he  House  Committee,  through  its 
chairman,  asks  us  to  state  that  criticisms 
and  suggestions  from  members  regarding 
catering  will  always  be  carefully  con¬ 
sidered,  and  should,  when  occasion  arises, 
be  made  through  the  manager  of  the  club, 
Major  Foyle. 

Kinema  Carnival,  Feb.  5 

Tickets  for  the  Carnival  are  being  brisklv 
circulated — and,  which  is  more  to  the 
point,  being  sold. 

We  cannot  too  strongly  repeat  that 
everyone — both  inside  the  busines  and  out¬ 
side  it — who  has  a  real  interest  in  and 
regard  for  British  film  production,  its 
achievements,  its*  possibilities,  and  its 
many  brilliant  personalities,  should,  as  a 
matter  of  course,  be  present  at  the  Hotel 
Cecil  on  T ebruary  5.  There  is,  however, 
no  need  to  urge  a  s.ense  of  duty  as  a 
reason  For  attending.  The  entertainment 
and  social  value  of  the  function — which 
ranks  with  the  Three  Arts  and  Victory 
balls  as  one  of  the  events  of  the  London 
dance  season — is  its  strongest  appeal,  and 
it  is  incumbent,  not  only  upon  all  club 
members,  but  also  upon  everyone  engaged 
directly  or  indirectly  in  the  kinema  In¬ 
dustry  to  sell  as  many-  tickets  as  possible. 

W  e  learn  that  an  added  attraction  at 
the  carnival  will  be  seen  in  the  shape  of 
Philip  Moss’  wonderful  fashion  parade 
of  the  latest  West  End  dress  models  bv 
the  most  beautiful  mannequins  in  Lon¬ 
don.  This  is  the  famous  parade  which 
has  taken  Murray’s  Club  by  storm  dur¬ 
ing  the  last  few<  weeks.  Billie  Bristow 
has  arranged  for  this  beautiful  displav  of 


frocks  and  femininay  to  take  place  after 
midnight. 

Posters  and  handbills — which,  to  save 
unnecessary  advertising  expense,  members 
and  others  are  earnestly  asked  to  assist 
in  getting  publicly  displayed — can  be  ob¬ 
tained  from  Major  Foyle  at  the  club,  or 
from  Billie  Bristow,  hon.  organiser,  175, 
Wardour  Street,  W.i.  Tickets,  price  25s., 
may  be  obtained  from  the  club  hall  porter, 
.Miss  Bristow,  and  members  of  the  Enter¬ 
tainments  Committee. 

Annual  General  Meeting  and 
Concert 

The  usual  dance  takes  place  to-night 
(Saturday),  and  on  Sunday  the  first  annual 
general  meeting  of  the  club,  is  to  be  held 
at  3  p.m.  in  the  club,  9  Great  Newport 
Street.  All  members  should  in  their  own 
interest  attend. 

Proposed  Amendments. 

'The  following  amendments  to  the  rules 
will  be  decided,  in  addition  to  the  elec¬ 
tion  of  officers  for  the  coming  year. 

Rule  3.  ELIGIBILITY  FOR  MEM¬ 
BERSHIP. 

Add  : — (f)  Ladies  and  gentlemen  not 
coming  within  any  of  the  above  qualifica¬ 
tions  w<ho  have  rendered  services  to  the 
club  or  whose  membership  of  the  club 
is  considered  by  the  council  likelv  to  be 
of  advantage  to  the  club.  Anv  member 


LISTENING  IN 

\17'E  hear  that  a  wireless  set  is  being 
*  ’  installed  in  the  Kinema  Club  in  the 
near  future.  It  is  unlikely  that  a  high-power 
transmitting  set  will  be  provided,  which  is 
rather  a  shame.  Should  it  ever  i  ventuate, 
however,  we  may  anticipate  listeners  all 
over  the  world  being  greatly  puzzled  by  hear¬ 
ing  odd  scraps  of  conversation  such  as  the 
following  (with  atmospheric  interruptions)  : 

“Couldn’t  get  to  the  Trade  show,  old 
man.  Did  my  little  bit  come  out  all  right ?  ” 

“Yes;  right  out  ...” 

Bzzzkbzzzzkp. 

“Is  he  a  financier,  or  has  he  got  money 
of  his  own?  ...” 

K-k-k-k-k-brzzzp.  # 

“  .  .  .  I  told  him  that  I  wasn’t  going  to 
work  all  night  for  fifteen  bob  a  day,  and 
then  get  nothing  for  it  except  pleurisy  .  .  .  ” 
Bbbb-pzzzkzp. 

“  I  tell  you  things  are  going  from  bad  to 
worse.  I  haven’t  done  a  day’s  work  since 
October.”  .  .  . 

Zzzz-wheeeee-ee. 

“  Mark  my  words,  this  year  will  be  a 
boom  year  for  British  pictures.  I’ve  just 
done  five  weeks  abroad,  and  fixed  up  again 
this  morning  to  start  at  once."  .  .  . 

K-k-bzzz-p-p-pzzk. 

“  I  met  a  producer  this  morning  with  a 
cast  in  his  eye.  Is  that  lucky?  ”... 

B-b-b-b-prrrck-k. 

“  Play  me  snooker.  I’ve  got  the  next 

table  but  seven.” 

Pk-k-zzzp. 

“  Can  I  sell  vou  a  ticket  for  the  Kinema 
Club  Carniv - 

G-r-r-r-r-rh. 


of  tbe  club  may  suggest  to  the  council 
names  of  suitable  persons  for  election 
under  this  clause. 

Add  to  Rule  5  : — (c)  Proposed  members 
under  Rule  3  (1)  shall  noL  be  subject  to 
Rule  (5),  (a)  ana  (a),  but  such  ladies  and 
gentlemen  must  be  proposed  oy  a  member 
ot  the  council  and  seconaeu  by  two  mem¬ 
bers  of  the  council  at  one  meeting  of  tbe 
council,  and  the  election  itselt  shall  take 
place  at  the  next  or  later  meeting  of  the 
council.  The  election  shall  be  by  show 
of  hands  and  must  be  unanimous.  11 
elected,  and  such  member  is  willing  to 
take  up  membership,  he  shall  have  all 
the  rights,  privileges  and  duties  ot  ail 
ordinary  member,  and  shall  pay  the  sub¬ 
scription  then  current  ot  mi  Mruim.rv 
member. 

The  first  anniversary  of  the  club  will 
be  fittingly  celebrated  after  the  meeting 
to-morrow  (bun day)  evening,  bv  an  olu- 
dme  concert,  at  which  some  attractive 
“turns,”  including  Arthur  Roberts,  Tom 
Costello,  Thornley  Dodge  and  Harry 
Dearth  have  promised  very  kindly  to  as¬ 
sist.  The  ever  genial  Sydney  Paxton  will 
act  as  chairman. 

Coming  Billiard  Match 

The  Billiards  Committee  announce  that 
on  Friday,  January  26,  the  new  billiard 
table,  recently  subscribed  tor  so  generously 
by  members  vand  good  .friends  ot  the 
club,  will  be  formally  handed  over  to 
the  council  at  seven  o’clock.  There  will 
follow  a  match  between  the  well-known 
professional  \Y.  Cook,  and  J.  J.  Ashley, 
who  receives  200  in  600.  Mr.  Cook  has 
promised  also  to  give  an  exhibition  of 
fancy  strokes  afterwards.  Ladies  are 
specially  invited. 

Four  prizes  are  wanted  for  a  “  Mum 
living  tournament  to  be  held  on  the  fol¬ 
lowing  Sunday,  January  28.  A  similar 
event  was  very  popular  last  season.  I  he 
entrance  fee  is  sixpence,  open  to  ladies 
as  well  as  gentlemen.  Ladies  play  5  up 
and  gentlemen  10  up!  But  there  are 
conditions  wnich  impose  a  severe  tem¬ 
peramental  strain.  Marking  and  fetching 
the  rest  must  be  done  by  the  players ; 
and  speaking  during  the  game,  allowing 
the  cue-butt  to  touch  the  floor,  and  in¬ 
correct  marking  instantly  disqualify  ! 

New  Members 

The  following  new  members  were 
passed  by  the  Executive  Council  on  'Tues¬ 
day  last  : 

Harry  Ainsworth. 

Nichol  Dean. 

Margaret  Yarde- 

blvvia  Caine. 

Dezma  dus  May. 

Cuthbert  Lyons  Buckle. 

Diana  Caird. 

Harold  French- 

They  were  all  declared  elected.  A 
steady  flow  of  new  nominations  is  also 
an  encouraging  and  heartening  sign  of 
prosperity  for  the  club  in  1923,  and  we 
hear  whispers  that  at  the  annual  general 
meeting  some  most  reassuring  informa¬ 
tion  will  be  given  out. 


7 


THE  MOTION  PICTURE  STUDIO 


January  20,  1928 


All  My  Eye — and  Betty  Balfour 

George  Pearson  at  work  on  “  Tip-toes” — and  tip-toes 


r.\  no  studio  could  there  ever  be  such  a 
hush  as  there  is  at  Craven  Park, 
N.YV.10.  One  enters  it — one  needn't,  but 
I  did — through  a  sort  of  East  Indian 
jungle  of  timber  and  odds  and  ends  of 
scenery  and  furniture,  and  coming  an  to 
the  floor,  watches  George  Pearson  direct¬ 
ing  Betty  Balfour.  But  at  first  it  is 
impossible  to  realise  that  that  is  what  one 
is  watching. 

In  the  first  place,  George  Pearson  is 
not  in  the  least  like  a  producer.  A  quiet, 
unobtrusive  man  of  meek  and  almost 
apologetic  aspect,  with  a  soft  voice,  no 
megaphone  or  horn-rimmed  spectacles, 
actually  fullv  and  sober lv  dressed—  it  shat¬ 
ters  all  conventional  visualisations  of  a 
director  of  motion  pictures.  How  is  this? 
How  dare  George  Pearson  mix  with  his 
fellow-men,  who,  misled  by  his  appear¬ 
ance,  might  at  any  moment  talk  about 
films  with  the  freedom  that  comes  from 
the  absence  of  anyone  connected  with  the 
industry?  How  can  he  possibly  be  re¬ 
garded  by  those  of  his  own  trade  (or  art) 
as  a  brother?  Is  it  really  “cricket”? 

The  reason,  of  course,  is  simple.  It 
is  essential  that  many  “producers"  shall 
have  the  appearance  of  producers,  because 
they  are  not.  There  is  not  the  least  need 
for  Pearson  to  look  as  though  he  were  a 
producer — because  he  is. 

All  this,  however,  did  not  dawn  on  me 
(as  it  has  no  doubt  dawned  on  you)  at 
once.  It  took  time.  It  was,  as  I  sav, 
impossible  to  appreciate  the  fact  that 


scenes  were  being  shot.  There  was  a 
humble  garret  “set” — the  sort  of  “set’’ 
that  makes  some  people  furious  because 
Britishers  don’t  spend  ten  times  as  much 
on  their  pictures,  but  which,  at  the  same 
time,  was  as  expensive  and  as  creative 
as  a  studio  mansion  interior.  There  were 
Cooper-Hewitts  and  other  lights  illumin¬ 
ating  it.  There  was  Betty  Balfour 
standing  about  in  the  middle  of  it,  chat¬ 
ting  quietly  to  George  Pearson,  who 
seemed  to  loiter  pensively  and  then  sit 
down,  at  intervals,  on  a  camp-stool. 
There  was  a  sense  of  peace,  decorum  and 
mild  interest.  It  suggested  to  me  a  visit 
to  a  museum  or  an  art  gallery,  with  Betty 
looking  at  things  and  Pearson  sitting 
down  occasionally  to  get  a  better  view  of 
something.  Percy  Strong  at  his  camera 
was  part  of  it.  There  was  not  half  the 
excitement  you  get  while  shaving.  Not 
that  I  wanted  if 

Presently,  I  perceived  method.  Pear¬ 
son.  with  cat-like  tread,  would  illustrate 
something  to  the  blonde  little  dancing-girl 
come  home  to  her  humble  abode,  and  on 
resuming  his  camp-stool,  would  signal  a 
little  and  the  camera  would  purr  verv 
softly  for  a  few  seconds.  Then  the  whole 
thing  began,  with  variations,  over  again. 
Evidently  a  purpose  in  all  this 

The  restful  effect  was  heightened  by 
nius’C  from  a  giamophone,  which  lulled 
everybody,  including  Leslie  Hiscott,  into 
eiuietness  of  movement  and  something  like 
churchiness.  Not  drowsiness,  but  just 


quiet,  respectful  attention.  Pearson 
talked  now  and  again,  but  we  couldn’t 
hear.  Personally,  1  believe  he  does  a  lot 
by  the  power  of  his  eye — a  sort  of  hyp¬ 
notism,  perhaps.  I  don’t  know. 

Presently  we  had  tea,  and  I  soon 
realised  that  what  some  other  directors 
behave  like  a  mad  bull  over,  only  makes 
George  Pearson  more  patient.  Two 
minutes’  conversation  showed  me  that  I 
had  been  privileged  to  watch  the  most 
sincere  among  British  picture-makers— 
and  the  most  unassuming. 

1  explained  to  Miss  Balfour  that  I  had 
not  met  her  since  she  was  twelve  years 
old,  and  that  on  that  last  occasion  1  had 
kissed  her.  I  was  very  surprised  to  find 
she  remembered  me.  She  is  very  full  of 
her  part  which  is  that  of  a  little  music-hall 
artiste  who  “makes  good.”  Mr.  Pearson 
was  very  properly  reticent  about  the  story, 
but  if  we  are  likely  to  see  anything  re¬ 
sembling  the  wonderfully-caught  vaudeville 
and  Brixton  atmosphere  of  “Nothing 
Else  Matters,”  then  the  Trade  Show  of 
“Tip-toes  ”  will  see  me  arriving  with  the 
first  dead-heads. 

Harry  Maude,  whom  I  met,  is  a  gentle¬ 
man  of  double  identity,  who  exhibits  his 
paintings  in  the  leading  London  exhibi¬ 
tions,  concurrently  with  playing  opposite 
Bettv  Balfour;  and  the  other  members  of 
the  cast  include  A.  Harding  Steer  man. 
Gerald  Ames,  Sydney  Fairbrother,  Annie 
Esmond,  Nancy  Price,  Irene  Norman  and 
Frank  Stan  more. 


8 


January  20,  1923 


rHE  MOTION  PICTURE  STUDIO 


Willie  Davies  —  Modernist 

An  appreciation  of  the  well-known  Art  and 
Pageantry  expert  whose  theory  of  the  use  of 
colour  instead  of  lighting  is  worthy  of  attention 

by  ROY  HARDY 


WJITH  the  advantage  of  years  of  experi- 

*  *  enoe  in  pageantry,  Mr.  Willie  Davies 
has  also  been  responsible  for  the  art 
direction  of  many  notable  successes  in 
the  kinema  world,  and  his  practical,  if 
not  unique,  experience  in  colour-schemes 
and  all  forms  of  art  decorations  in 

period  styles  or  modern  manners  is 
adequately  shown  in  such  recent  kinema 
successes  as  “Carnival’’  (which  for  its 
scenic  beauty  created  something  of  a  stir), 
'The  Bohemian  Girl,”  “Love  in  a  Whirl¬ 
wind,”  and  many  other  notable  productions. 

Mr.  Davies’  reputation  as  a  creator  and 
director  of  many  famous  pageants,  notably 
the  Chepstow  Castle  and  the  Kinematograph 
Peace  Pageant  and  Costume  Ball,  the  great 
knowledge  he  displayed  as  a  historian  and 
antiquary,  have  unfortunately  rather  ob¬ 
scured  the  fact  that  he  is  in  reality  essentially 
a  modernist  in  idea  and  expression,  and 
some  of  his  best  work  has  undoubtedly  been 
;n  the  sphere  of  modern  manners. 

A  visit  to  Mr.  Davies’  own  charming  flat 
in  Kensington  would  alone  suffice  to  empha¬ 
sise  this  point.  The  remarkable  and  alto¬ 
gether  delightful  drawing-room  of  this  flat 
was  recently  described  in  detail  in  “  The 
Furnishing  Trades  Organiser,”  and,  with 
due  acknowledgments,  we  quote  some  extracts 
from  the  article. 

The  writer  says  that  Mr.  Davies  has  de¬ 
liberately  used  coloured  textiles  as  a  painter 
would  use  the  pigments  on  his  palette.  His 
theory  is  that  every  room  should  be  de¬ 
pendent  for  its  effect  upon  one  dominant 
colour.  In  this  instance  it  is  the  heliotrope 
ceiling  framed  in  a  cornice  of  gold.  This 
>s  followed  up  by  the  contrasting  frieze  of 
dull  black  with.  Byzantine  design  in  gold, 
which  is  also  seen  on  the  side  fireplace 
panels. 

Purple  Silks. 

A  soft  tone  of  orange,  skirted  by  helio¬ 
trope,  forms  the  only  wall  decoration,  except 
for  the  draperies  of  the  windows,  which  are 
composed  of  black  velvet  in  centre  and  at  both 
ends,  whilst  falling  in  rotation  from  the 
centre  hang  strips  of  purple  and  orange 
silks.  The  white  statuette  creates  a  clear 
'''ut.standinsr  line  on  its  black  pedestal.  The 
highly  polished  floor  of  black  has  a  plain 
«oft-purple  carpet  over  it,  and  the  door  also 
is  of  black  with  gold  panels. 

The  prominent  and  inviting  centre  divan 
is  tightly  draped  with  purple  silk,  over 
which,  in  striking  contrast,  lies  an  oblong 
cushion  of  old  rose  brocade,  braided  and 
tasselled  in  gold :  the  remaining  circular 
bolster  cushion  being  of  purple  velvet,  with 
centre  of  orange  silk  with  gold  trimmings. 


A  pearl  and  pink-shaded  lamp  is  over  the 
centre. 

4 

Suggested  by  the  East. 

'the  divan  in  the  centre  corner  provides 
the  necessary  splash  of  Eastern  colour,  the 
most  pronounced  being  jade  green  and  pink, 
with  black  and  gold  to  tone  against  the 
Turkish  drapery  on  the  wall  behind.  Lying 


We  Dare  Not 
Print — 

Sir  Walter  de  Frece's  recently  expressed 
opinion  in  writing  of  film  company  promo¬ 
ting. 

The  name  of  the  Kinema  Selection  Com¬ 
mitteeman  who  thought  the  balloting-beans 
were  sweets. 

Challis  Sanderson’s  remarks  on  finding  the 
club  bar  doorway  too  low. 

Some  of  the  sentiments  expressed  at  Aider- 
shot  in  the  wet. 

Cameron  Carr’s  German  diary. 

The  truth  about  Malcolm  Tod’s  Austra¬ 
lian  bank-notes. 


The  name  of  the  agent  with  the  uncom¬ 
fortable  waiting-room. 

George  Pearson’s  outlook  on  the  future. 

Our  real  opinion  of  film  “  prologues.” 

Most  producers’  opinions  of  other  pro¬ 
ducers’  pictures. 

Any  cameraman’s  views  on  the  past  week's 
weather. 


The  nice  things  about  the  Press  in  a 
recent  speech  by  Edwin  Godal. 


What  we  really  think  of  Jimmy  Knight. 


George  Foley’s  refusal  to  fall  backwards 
off  a  roof. 


Willie  Davies 

between  the  two  divans  are  other  necessary 
adjuncts  to  an  apartment  having  an  Eastern 
flavour;  the  serving  tray,  incense  cupola, 
and  bowls  of  brass,  whilst  a  delicately  shaded 
standard  lamp  of  brass  completes  the  corner, 
except  for  the  fern  in  a  bowl  of  orange- 
china  resting  on  a  low  pedestal,  draped  in 
cerise  and  orange  satin. 

The  foregoing  will  give  proofs  of  Mr. 
Davies’  modernity  in  idea,  if  such  be 
needed.  The  essential  virtue  nowadays  is- 
specialisation,  whilst  the  cardinal  sin  would 
seem  to  be  versatility.  It  is  so  difficui* 
to  live  down  any  kind  of  reputation,  earned 
or  acquired,  and  it  is  often  fatal  to  attempt 
to  practise,  and  be  accepted,  along  any  new 
and  unfamiliar  lines. 

Mr.  Davies  has  some  rather  wonderful 
photographs  of  his  studio,  taken  with  ordi¬ 
nary  Osram  lamp's,  and  these  heavily  shaded. 

The  detail  is  most  remarkable,  and  even 
the  mauves  are  not  lost,  but  stand  out  clearly 
and  distinctly  from  the  blacks.  Yv  ith  all  the 
colours  described  above,  the  remaining  im¬ 
pression  is  of  something  silent,  warm,  and 
harmonious.  It  is  by  this  blending,  claims 
Mr.  Davies,  that  excellent  photographic 
effects  -are  to  be  obtained  with  a  minimum 
of  lighting. 

Now  Mr.  Davies  talks  of  going  to  America, 
but  it  will  be  a  thousand  pities  if  he  is 
allowed  to  do  so.  It  would  be  gratifying 
to  hear  of  his  engagement  in  connection  with 
the  production  of  a  wonderful  film  and 
pageant  that  would  give  adequate  scope  for 
the  exercise  of  all  his  rare  abilities. 


9 


THE  MOTION  PICTURE  STUDIO 


January  20,  1923 


The  Scenarists’  Bureau 


rJMlE  MOTION  PICTURE  STUDIO 
has  decided  to  dis<  ontinue  the  criticisn 
of  submitted  scenarios  for  the  time  being 
I  hose  under  consideration  will,  of 
course,  be  duly  dealt  with  in  the  same 
spirit  as  heretofore,  but  after  they  are 
disposed  of  the  critic’s  function  for  the 
present  will  cease.  We  therefore  will  be 
glad  if  readers  contemplating  forwarding 
scripts  will  refrain  from  doing  so  until 
further  notice. 

It  is  proposed  instead  to  deal  with  the 
whole  question  of  British  film-play  re¬ 
quirements  from  the  other  end — the  point 
of  view'  of  those  who  want  them  rather 
than  that  of  those  who*  seek  to  dispose  of 
them.  Y\  e  are  convinced  that  by  this 
means  we  tire  doing  a  better  service  both 
to  the  Industry  and  to  all  film  authors. 
There  will  be  no  campaign  or  “stunt,” 
but  our  outlook  tmd  policy  will  be  from 
time  to  time  expressed.  Criticism  is 
really  the  business  of  those  firms  which 
profess  to  seek  story  material,  rather  than 
our  own  concern  ;  and  we  are  now  in  a 
special  position  to  obtain  really  authorita¬ 
tive  pronouncements  from  the  leading  pro¬ 
ducing  organisation  which  should  be  of 
real  use  to  all  who  have  already  been  so 
interested  in  our  efforts  on  behalf  of  better 
stories. 

.1/.  C.  and  G.  C.  (Herne  Hill). — This  is 
a  wonderful  story,  but  the  scenarists  do  not 
thiink  it  is  suitable  for  the  linglish  or 
American  markets.  It  is  too  passionate,  and 
the  turgid,  violent,  colourful  nature  ot 
( 'atherine’s  love  affairs  are  not  at  all  the 
kind  of  thing  that  the  ordinary  film  firm 
seems  to  be  looking  for.  The  amount  of 
colour  and  movement  and  atmosphere  you 
have  got  into  the  short  synopsis  is  remark¬ 
able,  but  it  is,  of  course,  so  Continental  :n 
feeling  that  the  critics  cannot  help  feeling  { 


that  it  might  be  very  acceptable  to  an 
Italian  (Cines),  French,  or  even  German 
firm.  The  addresses  of  such  firms  could  be 
obtained  from  the  Kinerna  Year  Book 
.'Odhams  Press).  We  would  suggest  that 
the  authors  might  begin  by  offering  it  to 
Cmes.  In  spite  of  the  unsuitability  to  ordi  ¬ 
nary  markets,  the  critics  would  like  to 
warmly  congratulate  the  authors  on  having 
produced  a  very  remarkably  clever  synopsis:. 

E.  H .  B.  Ticehurst. — The  opening  of  this 
play  is  far  too  miserable.  A  scenario 
editor  would  be  unlikely  to  read  more  than 
the  first  few  lines  of  this  precis  on  account, 
of  its  squalid  nature  and  unremitting 
gloom.  The  story  afterwards  bristles  with 
improbabilities.  The  sick  and  dying 
mother  who  writes  a  letter  and  dies  a-  lew 
minutes  afterwards,  and  the  deaths  of  the 
iwn  mothers  within  a  few  minutes  of  each 
other,  are  two  cases  in  point.  This  is  the 
sort  of  story  that  used  to  find  a  market  on 
the  screen  in  the  early  days  of  film  work, 
but  now  no  longer  does  so.  Stories  for  the 
screen  now  have  to  approximate  far  more 
closely  to  real  life,  and  should  contain  far 
more  natural  incidents.  There  is  no  reason 
whatever  from  the  sample  you  have  sub¬ 
mitted  you  should  not  be  able  from  the 
above  hints  to  construct  a  story  suitable 
for  the  screen  now  that  you  know  what 
they  want.  Send  in  something  else,  and 
next  time  call  your  precis  a  synopsis,  and 
write  a  little  more  fully — more  like  a  short 
story,  but  with  the  action  emphasised.  Give 
your  play  a  title — an  important  factor,  and 
your  character  names.  Above  all,  remember, 
write  up  to  the  films — not  down  to*  them. 
Film  editors  want  the  best  stories  they  can 
get,  and  they  are  prepared  to  pay  for  them. 

D.  S.  P.  (The  Grove). — A  good  story  this. 
It  should  work  up  into*  an  excellent  five-reel 
subject.  It  might  be  suitable  for  Henrv 
Edwards  of  Hepworth’s,  the  Ideal,  or 
Master’s.  The  only  suggestion  we  have  to 
offer  on  the  plot  (which  is  obviously  the 
work  of  a  professional  writer)  is  that  there 
is  so  much  in  the  story  that  the  night  club 


scenes  could  be  eliminated,  saving  a  good 
deal  of  the  expense,  and  not  interfering  at 
all  with  the  plot.  It  lends  itself  to  beauti¬ 
ful  scenery,  few  interiors  and  a  short  cast, 
all  of  which  are  assets  in  its  favour  to  the 
mind  of  the  producer  who  is  considering 
buying  a  play.  We  should  like  to  add  that 
we  are  sorry  for  the  delay  in  publishing  the 
criticism,  but  such  a  number  of  MSS.  have 
been  sent  in  that  it  has  been  difficult  to 
deal  with  them  adequately. 

G -  Hearts,  by  Laughs  and  Tears. — In 

the  first  place  when  submitting  any  stories 
for  criticism  or  to  film  companies  for  sale, 
they  must  have  a  synopsis  of  the  story. 
Otherwise  there  is  a  strong  chance  that  they 
will  not  get  read  at  all.  The  three  scenarios 
that  you  have  submitted  so  far  to  the 
Bureau  have  been  big  MSS.  very  carefully 
worked  out,  but  to  understand  the  story 
when  no  synopsis  accompanies  them  we 
have  had  to  read  through  the  whole  of  the 
MSS.,  and  without  interruption,  to  know 
enough  about  the  story  to  give  you  a  fair 
criticism.  This  is  a  big  undertaking,  and 
though  we  have  done  it,  it  is  quite  certain 
that  a  scenario  editor  would  not  have  either 
the  time  or  the  patience  to  do  so;  while,  it 
there  was  a  synopsis  attached,  one  could 
read  that  first,  and  afterwards  refer  to  the 
scenario  to  see  how  you  had  worked  out  the 
story.  This  story  is  more  fiction  than  real 

life,  and  it  doesn’t  strike  the  note  of  real 

life  that  your  previous  work  did.  Some  of 
it  is,  of  course,  possible — some  of  it  wildly 
improbable,  and  there  is  not  enough  action 
in  the  scenes  with  Mr.  Condor.  The 
night  club  scenes  where  the  heroine  is 
lured,  would  not  be  passed  either  by  a  film 

company  or  by  the  Censor,  and  the  same 

applies  to  one  of  your  sub-titles.  Your 
patience  in  constructing  the  scenario  would 
have  been,  it  seems  to  us,  better  spent  on 
such  a  story  as  the  last  one  we  criticised  of 
yours.  We  are  sorry  we  cannot  say  as 
much  for  this  as  for  your  previous  one,  but 
we  do  not  consider  this  story  saleable  as 
it  stands. 


JREXE  NORMAN,  Gerald  Ames,  A. 

Harding  Steerman,  Harry  Maude, 
Nancy  Price,  Annie  Esmond,  Sydney 
Fairbrother,  and  Frank  Stanmore  are  in 
the  cast  supporting  Betty  Balfour  in 
“  1  ip-Toes  ”  (Welsh-Pearson). 

> 

1 

Jack  Dorrington,  who  has  been  very 
busy  in  varied  ways  in  “  A  Royal 
Divorce,”  for  Samuelson,  wishes  it  known 
that  he  did  not  impersonate  the  Duke  of 
Wellington  at  Waterloo,  in  the  battle 
scenes  at  Aldershot. 

M.  Gray-Murrav,  who  has  just  finished 
playing  the  Archbishop  in  “bSimonne 
Everard,  for  the  B-  and  C.,  is  to  play 
Colonel  Penn  in  “Curfew  Shall  Not 
Ring  I  o-night,”  for  Edwin  Greenwood, 
in  the  further  series  of  two-reelers. 

Edward  I).  Roberts  has  signed  on  to 
produce  a  further  number  of  comedies  for 
Albert-I’hillips  Him  Productions  before 
commencing  Work  for  Roberts-Crew  Art 
Productions  in  March.  Fatty  Phillips 
has  been  definitely  engaged  to  plav  in  one 
of  this  series. 

Rupert  and  Frank  Crew  are  the  authors 
of  the  new  two-reel  comedy,  “  Scraps 
and  Scrapes,”  which  Edward  D.  Roberts 
will  direct  for  Albert-Phillips. 


Where 

They  Are — and 
What  .  .  .  . 

They  Are  Doing 

Bert  Dariev,  Reginald  Fox,  Fred  Rayn- 
ham,  Charles  Barrett  and  Ray  Raymond 
are  among  the  principals  in  “The  Gloria 
Scott,”  the  two-reel  Sherlock  Holmes  sub¬ 
ject  now  being  completed  for  Stoll’s  by 
George  Ridgwell. 

Geoffrey  Malins  has  written  many  of 
the  scenarios  for  George  Ridgwell ’s  series 
of  two-reel  “  Sherlock  Holmes  ”  subjects 
(Stoll),  and  P.  L.  Mannock  is  also  respon¬ 
sible  for  several  of  them. 

Charles  Vane,  Knighton  Small,  Lilian 
Braithwaite,  Kate  Gurney,  and  Ruhama 
Cat  ton  are  appearing  in  the  Campbell 
Gullan  production  at  Clapham. 

Peggy  Carlisle  has  been  playing  at  Hove 
for  Lieut.  Daring. 


Jack  Hobbs  is  playing  Clement  Hale  in 
“Sweet  Lavender”  at  the  Ambassadors 
Theatre. 

Joan  Morgan  is  playing  lead  for  the  B. 
and  C.  in  Edwin  Greenwood’s  two-reel 
production  “  Curfew  Shall  Not  Ring  To¬ 
night.” 

Hugh  Higson  has  been  playing  in  “  A 
Royal  Divorce,”  at  Isleworth. 

Henry  Edwards  is  supported  in  “  Lilv 
of  the  Alley  ”  (Hepworth)  bv  Campbell 
Gullan,  Lionel  D’Aragon  and  Frank 
Stanmore. 

Henrv  Edwards,  Chrissie  White, 
Gwynne  Herbert  and  Henry  Vibart  appear 
in  Edwards’  production  of  E.  Temple 
Thurston’s  “  World  of  Wonderful 
Reality  ”  (Hepworth). 

“  The  Hypocrites,”  the  Granger-Binger 
picturisation  of  Henry  Arthur  Jones’  well 
known  play,  shortly  to  be  Trade  shown, 
was  produced  by  Charles  Giblin. 

Norman  Page  is  playing  Jonathan  Small 
in  Maurice  Elvev’s  “  The  Sign  of 
Four  ’  (Stoll). 


10 


January  20,  1923 


THE  MOTION  PICTURE  STUDIO 


No  Faultless  Face  Exists 

Penrhyn  Stanlaws’  Dictum - Is  it  a  Grievance  against 

“  Feature  ”  Films  ? 


pENRHYN  STANLAWS  was  the  Scot¬ 
tish  black-and-white  artist  of  Ameri¬ 
can  adoption  whose  quaint  frilly  femininity 
fascinated  us  in  the  pages  of  Life  and 
elsewhere  in  the  heyday  of  C.  D.  Gibson. 
He  has  since  turned  motion  picture 
•director,  and  has  a  good  record  of  sound 
pictures  to  his  credit,  but  his  latest  claim 
on  the  attention  of  this  planet  is  a  candid 
burst,  of  hard  brutal  truth  about  the  im¬ 
perfections  of  the  faces  belonging'  to'  the 
great  ladies  of  the  screen.  Among  other 
things,  he  comes  to  definite  and  formu¬ 
lated  charges  like  the  following  :• — 

The  Gish  sisters  have  imperfect  noses, 
and  their  lips  5-re  too  large. 

Norma  Talmadge  has  a  “  bulbous  ” 
nose. 

Nazimova’s  eyes  are  too-  small  for  her 
face,  and  her  head  is  too  big. 

Mary  Pickford  shares  the  common 
blemish  of  having  too  big  a  head. 

Pola  Negri’s  face  is  too  square. 

Shirlev  Mason’s  faults  are  deep-set  eyes 
■and  “  horse  nostrils.” 

Bebe  Daniels’  figure  is  good,  but  she 
keeps  her  mouth  open  too  much. 

Gloria  Swanson’s  head  is  too  heavy  for 
her  bodv.  Her  nose  is  retrousse. 

Marie  Prevost’s  neck  is  too  short,  and 
her  figure  is  slightly  heavy. 

Constance  Talmadge  has  an  inadequate 
*  mouth  and  chin. 

Viola  Dana  has  a  big  nose,  too-  heavv 
at  the  end.  Jawbones  are  too  wide  and 
chin  too  prominent. 

Mary  Miles  Minter  is  too  matronlv. 

This  is  a  frightful  arraignment,  and  we 
are  entitled',  we  think,  to  console  ourselves 
that  Stanlaws  dwells  on  the  other  side 
of  the  Atlantic.  It  would  be  awful  if  he 
began  to  dissect  the  features  of  British 
screen  beauties. 

If  he  is  really  in  earnest  about  this,  it 
opens  up  a  wider  idealism  in  picture  pro¬ 
duction  than  we  had  ever  foreseen ;  an 
idealism  of  the  human  countenance 
fraught  with  dangerous  possibilities. 
First  of  all,  it  presupposes  that  a 
standard  of  beauty  can  be  formulated  and 
worked  out  on  squared  paper — a  standard 
based  entirely  upon  mathematics.  Artists 
will  agree  (as,  of  course,  they  invariably 
do)  on  a  supreme  type  of  beauty,  and  a 
lay  figure  and  face  will,  under  a  Ministry 
of  Arts,  be  publicly  exhibited  as  official 
perfection,  in  much  the  same  way  as  the 
standard  yard  measure  is  exhibited  to-dav. 
We  can  faintly  picture  the  boon  to  man¬ 
kind  which  this  would  undoubtedly  prove. 
The  young  man  would  take  secret 
measurements  of  his  adored  one’s  fea¬ 
tures  with  callipers  and  tape-measure. 
Hurrying  to  South  Kensington,  he  would 
find  to  his  bitter  anguish  that  Phyllis’ 
nose  showed  10  per  cent,  deviation,  and 
that  her  ears  were  verv  far  from  being  a 
pair.  A  death  pact  would  be  the  onlv 
wav  out. 


The  theatrical  manager  engaging  a 
beauty  chorus  would  find  that  a  sliding 
scale  of  deviation  from  standard  beauty 
v\(oukl  aid  him  in  deciding  whether  his 
girls  should  go  in  the  first,  second,  01 
back  rows.  Critical  visitors  to  the 
National  Portrait  Gallery  would  be  armed 
with  micrometers :  and.  most  important 
of  all,  film  agents’  offices  would  be  plas¬ 
tered  with  portraits  of  his  fair  clients  with 
certificates  appended  vouching  for  their 
close  approximation  to  the  official  lay 
figure. 

All  arguments  regarding  the  respective 
charms  of  this  or  that  screen  beautv 
would  be.  ended.  Trigonometry  would  be 
a  part  of  studio  curriculum  and  the  final 
arbiter  of  all  publicity  concerning  the 
world’s  stars.  Graduallv  the  non-con¬ 
forming  types  of  beauty  would  be  elim- 


“  The  Hypocrites” 

The  Granger-Binger  version  of  the  famous 
play  by  Henry  Arthur  Jones  of  the  above 
title  is  nearly  ready  for  Trade  showing,  and 
Arthur  Backner  is  anticipating  a  mild  sensa¬ 
tion.  It  is  the  most  ambitious  of  all  the 
pictures  made  under  these  auspices,  and,  as 


our  readers  already  know,  features  Wyndham 
Standing.  The  strong  supporting  cast 
includes  Sydney  Paxton,  Harold  French, 
Bertie  White,  Roy  Travers,  Lillian  Douglas, 
Gertrude  Sterroll  and  Mary  Odette.  Charles 
Giblin,  an  American,  is  responsible  for  the 
direction. 


inated.  and  a  common  level  of  perfection 
would  take  its  place.  Names  like  Gish, 
Talmadge,  Pickford,  Prevost  and  Dean 
would  convey  nothing,  as  under  a  really 
officially-controlled  standard  the  faces  of 
all  would  be  practically  indistinguishable, 
thus  saving  endless  trouble.  There  will, 
no  doubt,  be  some  dissatisfied  people 
who  will  prefer  the  present  state  of 
variety  and  confusion.  They  will  assert 
that  individuality  is  so  much  a  part  of 
beauty  that  an  occasional  lapse  from  the 
classic  model  is  sometimes  excusable  and 
even  attractive;  they  wfill  continue  in  this 
strain  • — 

”  is  the  face  beautiful  simply  because 
of  its  proportions  or  because  of  signifi¬ 
cance  which  these  proportions  may  pos¬ 
sess  ?  Does  one  look  across  the  break¬ 
fast  table  thrilled  that  one  faces  a  face  in 
which  there  is  nothing  out  of  drawing,  a 
face  whereon  the  nose  is  equidistant  from 
brow  or  chin — chin  or  brow,  the  sort  of 
face  that  is  so  balanced  it  looks  as  well 
upside  down  as  any  other  way,  or  does  one 
thrill  because  one  faces  indelible  evidences 
of  certain  traits  and  characteristics  to 
which  one  has  become  addicted? 

“  Can  it  be  said  a  perfectly  propor¬ 
tioned  face,  like  a  well-balanced  body,  is 
a  more  perfect,  instrument  for  the  expres< 
sion  of  such  thoughts  as  might,  per¬ 
chance,  lie  within?  Is  each  feature  but  a 
physiological  instrument?  Is  the  true 
ideal  the  assembly  of  the  right  number  of 
perfect  parts  and  will  this  assemblage 
serve  more  perfectly  to  reflect  ideas? 

“Is  there  a  standard  of  perfection  to 
which  all  personalities  should  conform? 
If  so,  why  have  any  individuality  at.  afl, 
Standardisation  in  some  lines  may  be  a 
blessing.  For  instance,  it  helps  to  make 
cheap  cars  cheaper.  But  is  it  not  enough 
to  have  to  divert  one’s  gaze  from  millions 
of  flivvers  without  so  standardising  the 
face  that  one  would  have  to  do  the 
same  ? 

“  Fancy  living  in  a  nation  of  Venuses 
all  alike  to-  the  thousandth  of  an  inch  1 
We  would  then  see  a  fine  crop  of  adver¬ 
tisements  like  this  :  ‘  Your  face  marred 
and  altered.  Individuality  guaranteed. 
Originality  and  eccentricities  worked  in 
until  twins  become  as  strangers.  Custom- 
made  bodies  of  exclusive  design.’ 

“  Fancy  reducing  the  fascinating  galaxy 
of  personalities  we  have  before  us  to-day 
to  the  mean  level  of  a  perfect  face  !  Who 
would  dare  thus  to  mechanicalise  the 
Spirit  of  Diversity?  Could  our  eminent 
artist  have  the  face  to  look  upon  such  a 
world?  It  would  be  like  living  in  an 
asylum  of  Benda  Masks — all  alike.” 

But.  these  quibbling  objections  of  people 
like  Mr.  S.  K.  Johnson  in  “  Camera!  ” 
will  not  bother  the  reformers  of  beauty. 

We  now  await  the  dawn  of  similar 
standardisation  in  other  fields — for  in¬ 
stance,  the  perfect  perfume  which  alone 
justifies  its  existence  among  the  odours 
of  the  world ;  and  the  perfect  tune,  which, 
under  sensible  regulations,  would  be  the 
only  melody  allowed  to  be  played. 


THE  MOTION  PICTURE  STUDIO 


January  20,  1923 


Hampered 

Production 


British 


The  Only 
Way  ? 


i  CORING  the  last  two  years  there  has 
*  '  .been  a  fall  in  the  production  of 
British  pictures.  Apart  from  the  figures, 
everyone  whose  livelihood  is  obtained  in 
or  through  the  film  studio  knows  it  from 
experience.  And  everyone  is  looking  for 
causes  and  remedies. 

In  1920  (the  figures  are  approximate) 
some  768,000  feet  of  home-made  pictures 
were  offered  to  the  exhibitor,  and  the  cost 
of  production  was  about  ,£'459,000.  A 
very  slight  fall  occurred  in  1921,  when 
747,200  feet  were  offered,  at  a  production 
cost  of  about  ,£448,320.  But  last  year 
showed  a  severe  drop,  the  footage  falling 
to  572,000  feet  and  the  cost  to  £(337,200. 

At  the  same  time  there  was  a  fall  in 
the  importation  of  American  films,  at 
least  in  regard  to  positive,  which  dropped 
from  some  fifteen  million  feet  of  positive 
and  two  million  feet  of  negative  in  1920 
to  9,102,251  feet  of  positive  in  1922,  nega¬ 
tive  rising  slightly  to  2,912,500  feet. 

But  the  astounding  disproportion  be¬ 
tween  the  figures  of  imported  and  native 
pictures  remains  the  same,  and  is 
gradually  having,  together  with  other 
causes,  the  effect  of  reducing  production 
in  this  country  almost  to  a  vanishing 
point. 

The  natural  advantages  of  America 
hardly  need  recapitulating.  She  has  an 
enormous  number  of  picture  theatres  giv¬ 
ing  her  a  field  wherein  she  can  usually 
get  back  at  least  her  negative  cost  on  a 
production,  leaving  her  foreign  sales  all 
profit.  Therefore  it  is  possible  to  dump 
pictures  into  this  country  at  prices  which 
cannot  be  touched  by  the  British  producer, 
who  has  to  get  his  cost  back  in  the  smail 
theatre  market  here. 

But'  a  greater  factor  is  that  the  quality 
of  the  American  films,  as  an  average,  is 
much  better.  Because  pictures  have  been 
made  so  cheaply  and  parochially  here  on 
the  basis  of  the  home  market,  price  for 
price  they  cannot  be  compared  with  the 
American  product. 

Let  it'  be  just  this  way  :  An  American 
picture  costing  some  ten  to  fifteen 


Film  Production  in  Ireland 

Some  important  statements  concerning 
the  future  of  film  production  in  Ireland 
come  from  C.  E.  McConnel,  chairman  of 
Irish  Photo-  Plays,  Ltd.  He  says  that  the 
company  intends  very  shortly  to  go  ahead 
and  do  things  on  a  really  large  scale. 
Although  the  pictures  already  produced, 
“The  Casey  Millions”  and  “Wicklow 
Gold,”  have  proved  a  success,  the  com¬ 
pany  finds  that  they  are  not  big  enough. 
The  title  of  the  latest  picture,  which  will 
be  screened  privately  for  the  benefit  of 
the  directors  within  the  next  fortnight  or 
so,  is  “  C-rui skeen  Lawn,”  an  Irish  racing 
play,  which  is  being  put  out  as  a  four- 
reeler. 

Plans  for  the  future  include  the  decision 
to  interview  some  big  producers — English 
and  American- — with  the  object  of  launch¬ 
ing  out  on  a  far  more  extensive  scheme 
of  operations. 


thousand  pounds  to  produce  can  be 
rented  in  this  country  at  prices  which  a 
native  producer  spending  three  or  four 
thousand  pounds  or  a  picture  would  have 
to  get  in  order  to  make  it  pay. 

It  is  certain  that  we  cannot  co)iipei.e 
with  American  pictures  on  a  price  basis 
in  our  own  country,  much  less  abroad. 

Neither  can  we  get  a  share  of  the 
foreign  trade,  especially  in  the  United 
States,  by  trying  to  imitate  the  American 
product. 

Tariffs,  preferential  treatment  and  all 
the  other  artificial  nostrums  that  are  used 
to  bolster  up  an  industry  that  cannot  meet 
competition  are  particularly  useless  in  the 
case  of  films,  because — even  if  the  exhibi¬ 
tor  booked  British  pictures  because  of  the 
increased  cost  of  American  films  caused 
by  a  tariff  or  a  subsidy — the  public  would 
not  go  to  see  them  unless  the  standard  of 
production  and  the  standard  of  studio 
efficiency  were  greatly  improved. 

There  are  palliatives  for  the  present 
situation,  but  they  will  not  do  the  In¬ 
dustry  any  good  in  the  end. 

There  is  one  remedv — or  at  least  one 
hope — to  develop  in  this  country  a  stan¬ 
dard,  a  distinctive  type,  of  screen  art,  so 
that  our  pictures  are  wanted  abroad,  even 
in  the  overloaded  United  States,  because 
they  are  good  and  because  they  are  dif¬ 
ferent. 

Sweden  has  done  it  to  a  partial  extent 
— and  she  has  a  Continental  market  that 
would  make  most  of  our  own  producing 
organisations  shiver  with  ecstasy  if  it 
were  theirs. 


Next  Week’s 

Motion  Picture 

Studio 

WILL  CONTAIN 

SPECIAL  FEATURES 

ON 

“THE  VIRGIN  QUEEN” 

(Blackton-Rose) 

AND 

“Paddy-the-next-  best-Thing” 

(Graham  -  W  ilcox) . 

BOOK  YOUR  SPACE 

AND 

ORDER  YOUR  COPY 

NOW! 


“  Doubling  ” 

Is  it  Defensible  ? 

The  ethics  of  “doubling  ” — that  is  to 
say,  of  employing  someone  to  impersonate 
a  player  with  the  object  of  deceiving  the 
public — is  not  very  clearly  established.  A 
particularly  glaring  instance  will  occur  to 
most  of  our  readers  who  are  in  touch 
with  the  realities  of  the  studio.  A  very 
famous  actor  has  been — and  is  being- — 
featured  in  a  British  picture,  the  very 
title  of  which  implies  a  breathless  exploit. 
That  actor  had  practically  no  actual  share 
in  the  really  risky  work  which  the  scenario 
necessitates,  and  others  ljfid  to  perform, 
in  his  clothes,  the  vigorous  and  energetic 
work  by  reason  of  the  fact  that  the  actor 
was  quite  incapable  of  it. 

We  hold  no  brief  for  the  “  stunt  ”  mer¬ 
chant  as  such,  and  believe  that  his  vogue 
when  he  appears  as  an  actor  is  pandering 
to  the  crudest  instincts  in  audiences.  The 
merely  sensational  picture  is  fortunately 
on  the  wane,  and  naturally  the  hare¬ 
brained  and'  often  foolhardy  men  and 
women  find  their  occupation  dwindling. 
They,  therefore,  are  always  open  to 
“  double  ”  real  artistes  who  can  act,  but 
who  wisely  value  their  skins.  There  is 
more  excuse  for  them  than  there  is  for 
the  player  who  so  sensibly  refrains. 

But  why  should  an  actor,  however 
famous,  receive  the  plaudits  of  the  world 
for  performances  the  real  credit  to  which 
is  due  to  others?  This  is  especially  un¬ 
just  when  the  particular  “  stunts  ”  are  by 
no  means  outrageous,  and  above  all,  when 
it  is  perfectly  easy  to  find  an  actor  of  ex¬ 
perience  who  can  perform  them. 

Hepworth  Heavily  Disguised 

“  Tansy,”  the  first  release  of  the  Burr 
Nickle  Productions,  after  nine  months’ 
work,  has  been  completed.  This  picture 
is  a  novel  tv,  inasmuch  as  it  is  the  first 
production  wherein  none  of  the  artistes 
wtere  permitted  to  use  “make-up.”  I  he 
foregoing  appears  as  a  snappy  item  in  an 
American  trade  paper,  and  is  n  delightful 
example  of  the  calm  appropriation  .of 
all  the  credit  for  a  picture  so  British 
that  we  once  more  marvel  at  the  bland 
mendacity  which  studiously  suppresses 
all  indication  of  the  origin  of  this  charm¬ 
ing  Hepworth  production.  We  wonder 
what  would  happen  if  a  British  renting 
house  tried  to  persuade  us  that  they  were 
responsible  for  the  production  of  the 
American  pictures  they  handled. 

Donald  Searle’s  Thanks 

“  1  should  like  to  take  this  opportunity, 
through  your  publication,  of  thanking 
you  and  those  many  members  and  non- 
members  of  the  Kinema  Club  for  the 
great  interest  that  was  shown,  by  the 
many  inquiries  I  received,  relating  to  my 
accident  at  the  St.  James’s  Theatre.  I 
find  it  most  difficult  to  express  my  grati¬ 
tude  and  appreciation  in  writing,  especi¬ 
ally  to  those  members  who  paid  continual 
visits  to  me,  and  to  those  who  telephoned. 
I  must  add  that  I  was  deeply  moved  by 
this  wonderful  consideration.  I  am 
pleased  to  say  my  injury  is  progressing 
very  favourably,  so  much  so  that  I  hope 
to  be  back  at  the  theatre  by  the  end  of 
this  week,  after  I  have  paid  a  visit  to 
q,  Great  Newport  Street.” — Donald 
Searle. 


12 


January  20,  1923 


THE  MOTION  PICTURE  STUDIO 


The  Scenario  School 

What  the  Halifax  Course  Cannot  Do 


M  ORE  than  one  of  our  readers  has1  I 
inquired  whether  we  are  in  a  posi¬ 
tion  to  recommend  the  School  of  Photo¬ 
play,  Halifax.  We  take  this  opportunity 
of  saying  we  are  not.  In  doing  so  we 
preserve,  as  much  as  possible  an  open 
mind,  and  we  are  making  further  in¬ 
quiries,  the  results  of  which  we  will  com-  * 
municate  to  our  readers  in  due  course. 

This  School  advertises  attractive  an¬ 
nouncements  calculated  to1  appeal  to  the 
many  hundreds  of  people  who  labour 
under  the  impression  that  they  can  write 
film  stories.  The  fact  that  many  films 
are  contemptible  from  the  narrative  stand¬ 
point  is  probably  the  chief  reason  why 
so  many  amateurs  are  convinced  that 
openings  for  stories  of  a  similar  calibre 
— and  better — abound  ;  and  there  is,  there¬ 
fore,  a  promising  field  for  those  who  sell 
courses  of  lessons  in  script-writing.  In 
America,  of  course,  their  name  is  legion- 

It  is  time  someone  pointed  out  that  the 
amateur  scenarist  is  in  general  no 
more  to  be  encouraged  than  the  amateur 
screen -struck  film  aspirant.  There  are 
bad  stories  and  bad  players  on  the  screens 
of  to-day,  just  as  there  are  bad  plays  and 
actors  on  the  legitimate  stage.  We  are  the 
last  to-  deny  this — in  fact  we  are  constantly 
complaining  about  it.  But  the  improve¬ 
ment,  where  necessary,  must  begin  from 
within.  The  fresh  blood  is  already  to 
hand  in  the  persons  of  those  who  have 
served,  and  are  serving,  a  term  of  ex¬ 
perience — and  too  often  of  bitter  experi¬ 
ence-fin  the  Industry  itself.  It  is  their 
recognition  and  not  that  of  the  outside 
amateur,  which  will  one  day  come ;  and  it 
is  from  llieir  ranks  that  all  those  who 
have  already  won  real  popularity  have 
sprung. 

We  see  no  objection  to  Frank  King — 
whose  qualifications  we  would  neverthe¬ 
less  be  glad  to  know — selling,  as  principal 
of  the  Halifax  school,  courses  of  ifxfiinical 
instruction  to  those  who  are  disposed  to 
pay  the  necessary  guineas.  We  strongly 
doubt  whether  anything  more  can  be  im¬ 
parted  thereby  than  can  be  acquired  from 
any  one  of  the  many  books  on  construc¬ 
tional  photoplay  writing;  and  we  give 
Mr.  King  his  due  in  not  claiming  to>  teach 


Blazing  the  Airway  to  India 

The  six-reel  record  of  the  thrilling  at¬ 
tempt  of  three  young  Englishmen — Major 
Macmillan,  Captain  Blake  and  Captain 
Geoffrey  Malins,  O.B.E. — to  fly  round  the 
world,  is  a  wonderful  and  vivid  picture 
which  will  shortly  be  placeyl  before  the 
public.  It  is  a  valuable  illustration  of 
British  pluck  and  endurance  no  less  than 
a  striking  incident  in  the  progress  of 
aviation.  The  ground  covered  from  the 
original  start  at  Croydon  includes  Paris, 
the  Alps,  the  Riviera,  the  Apennines,  an 
amazing  view  of  the  crater  of  Vesuvius, 
Albania,  Corfu,  the  Libyan  desert,  Persian 
Gulf  and  India. 

The  journey  was  fraught  with  much 
risk,  and  was,  as  everybody  knows,  cur¬ 
tailed  bv  an  accident  which  nearly  cost 
the  three  intrepid  men  their  lives. 


more  than  the  machinery  of  scenario  lay¬ 
out. 

At  the  same  time,  we  wish  we  could 
bring  a  few  facts  before  all  those  people 
who  contemplate  indulging  in  Mr.  King's 
course.  First  of  all,  a  bad  story  in  a 
film-  would  not,  perhaps,  encourage  would- 
be  screen  authors  so  much  if  they  knew 
that  in  all  probability  the  original  story 
was  a  fairly  sound1  and  intelligible  one 
spoilt  in  production  and  cutting.  Then 
there  is  the  important  fact  that  a  story 
submitted  in  the  technical  form  presum¬ 
ably  acquired  by  Mr.  King’s  lessons  by 
post  stands  less  chance  of  being  accepted 
or  even  of  being  read,  than  the  same  story 
submitted  in  ordinary  condensed  narrative 
of  action  The  writer  of  this  article  was 
scenario  editor  for  some  years  to  a  firm 
of  deserved  repute  ;  and  as  not  one  story 
in  five  hundred  submitted  to  that  firm 
was  worthy  of  serious  consideration,  those 
which  were  set  out  in  lengthy  and  elabor¬ 
ate  scenario  form  were  invariably-  regarded 
with  prejudice,  because  while  there  was  not 
the  least  likelihood  of  their  being  more 
promising  on  that  account,  they  took  ten 


COMING 
TRADE  SHOWS 

J.  STUART  BLACKTON 
“The  Virgin  Queen.” 

Monday,  January  22, 
at  the  Empire  Theatre,  W.C., 
at  8.30  p.m. 

J.  Stuart  Blackton,  natural  colour  pro 
duction.  Directed  by  J.  Stuart 
Blackton.  Leading  players  :  Lady 
Diana  Manners,  Carlyle  Blackwell, 
Norma  Wh  alley,  Hubert  Carter, 
William  Luff,  A.  B.  Imeson,  Walter 
Tennyson,  Violet  Virginia  Blackton. 
Controlled  by  the  Rose  Film,  Co., 

Ltd. 

GRAHAM- WILCOX 
“Paddy — the  Next  Best 
Thing” 

From  Gertrude  Page’s  story. 
Directed  by  Graham  Cutts. 
Photographed  by  Rene  Guissart. 

Leading  players  : 

Mae  Marsh,  Nina  Boucicault,  Hai- 
dee  Wright,  Darby  Foster,  George 

K.  Arthur,  Marie  Wright,  Lillian 
Douglas,  Tom  Coventry,  Simeon 
Stuart. 

Trade  show  :  Alhambra,  W.,  Tues¬ 
day,  January  23,  at  11  a.m. 

BUTCHER-CARLTON 
“  Rogues  of  the  Turf  ” 

From  John  F.  Preston’s  play, 
Directed  by  Wilfred  Noy. 

Trade  show  :  New  Gallery  Kinema, 
Thursday,  January  25,  at  11.30  a.m. 


times  as  long  to>  read  and  assimilate.  One 
of  the  few  instances  in  the  last  year  or 
so  of  an  outside  story  from  a  stranger 
being  accepted  in  England  was  a  short 
condensed  tale-plot  on  a  dozen  or  so  typed 
pages,  which  Henry  Edwards  purchased 
and  then  had  a  scenario  written  in 
elaboration  of  it. 

In  general,  an  appalling  amount  of 
utterly  contemptible  rubbish  is  submitted 
to  producing  houses,  and  it  is  quite  enough 
for  these  firms,  which  run  a  story  depart¬ 
ment  to  wade  through  their  daily  welter 
without  the  added  terror  of  every  story 
being  in  detailed  script  form,  as  a  result 
of  photoplay  schools. 

We  have  no  desire  to  ridicule  those  who 
aspire  to  be  technical  script -writers ;  but 
it  is  quite  a  secondary  consideration  in 
submitting  stories.  Moreover,  all  script¬ 
writers  of  any  eminence — including  those 
quoted  in  the  Halifax  prospectus— have 
won  their  status  by  direct  association 
with  the  studios  for  long  periods  of  time, 
just  as  every  famous  dramatist’s  first-hand 
knowledge  of  the  theatre  is  his  greatest 
asset. 

The  more  people  who-  learn  the  tech¬ 
nique  of  the  photoplay  the  better ;  but 
we  find  it  difficult  to  believe  that  such 
knowledge  can  be  properly  acquired  by 
tuition  through  Flis  Majesty’s  mails.  Mr- 
King’s  testimonials  from  his  ex-pupils  are 
fulsome,  but  he  does  not  quote  a  single 
word  of  evidence  that  any  one  of  his 
pupils  has  ever  had  a  scenario  accepted. 
It  is  also  hardly  necessary  to  say  that 
there  is  no  indication  to  the  would-be 
student  of  the  unreliability  of  scenario¬ 
writing  as  a  lucrative  profession,  even  to 
those  whose  reputation,  in  this  country 
at  all  events,  is  already  established. 

In  one  respect,  however,  we  admit  Mr. 
King  is  our  superior.  He  hints  that  he 
knows  the  requirements  of  most  indi¬ 
vidual  producers.  We  are  almost  tempted 
to  take  his  course  for  that  information 
alone,  and  we  suggest  that  a  real  know¬ 
ledge  of  their  own  story  needs  should  he 
worth  the  money  alone  to  certain  pro¬ 
ducers  themselves. 


L.  B.  Lestocq  Joins  Bramlin’s 

We  learn  with  interest  that  L.  B.  Les¬ 
tocq  has  just  severed  his  connection  with 
Stage  and  Screen  Booking  Offices  and 
joined  the  well-known  agency  of  Bramlin  ’s 
and  will  be  from  now  associated  with 
John  Payne  in  the  activities  of  that  firm. 
He  will  be  more  than  pleased  to  see  any 
of  his  old  friends  at  239,  Shaftesbury 
Avenue,  where  from  now  on  he  is  in¬ 
stalled. 

Mr.  Lestocq,  who,  of  course,  is  the  son 
of  the  famous  Charles  Frohman’s  repre¬ 
sentative,  is  especially  qualified  for  his 
present  work,  having  been  casting  director 
at  Islington  for  Famous-Players  Laskv 
British  Productions.  He  is  esteemed 
personally  by  all  who  come  in  contact  with 
him,  and  we,  in  wishing  him  every  suc- 
i  cess,  congratulate  Bramlin’s  as  well- 


13 


THE  MOTION  PICTURE  STUDIO 


January  20,  1923 


Ihe  Late 

Brig.-Gen.  W.  B.  Hulke,  D.S.O. 

Death  of  former  Kinema  Club  Manager 


I  is  with  much  regret  that  we  have  to 
announce  the  death  of  Brigadier- 
General  W.  B.  Hulke,  D.S.O.,  who  was 
known  to  so  many  of  our  readers  in  this 
capacity  of  the  first  manager  of  the 
Kinema  Club.  An  efficient  administrator, 
a  tireless  worker  in  the  days  that  followed 
the  Club’s  inception,  and  an  unassuming 
gentleman,  he  won  the  earnest  regard  of 
all  who  knew  him.  His  passing  was 
comparatively  sudden,  although  many 
were  aware  that  his  activities  in  the  ser¬ 
vice  of  his  country  had  resulted  in  a 
legacy  of  suffering  of  which  he  always 
made  light. 

In  an  appreciation,  A-  Harding  Steer- 
man.  chairman  of  the  Kinema  Club 
House  Committee,  writes  : — 

“  The  death  of  the  late  manager  of  the 
K  inem.t  Club,  Brig.-Gen.  Hulke,  comes 
as  a  great  shock  to  many  of  us  who  did 
not  know  even  that  he  was  ill. 

“  I  had  the  privilege  of  many  little 
quiet  chats  with  him.  A  man  of  great 
ability,  he  was  also  most  modest ;  and  it 
was  with  difficulty  that  I  could  ever  in¬ 
duce  him  to  talk  of  himself. 

“  Ho  retired  from  the  Army  some  years 
ago,  and  having  settled  abroad.  Was  begin¬ 
ning  to  see  the  fruits  of  his  labour  on  his 
ranch,  when  the  war  burst  upon  the 
world.  Like  all  true  patriots,  he  at  once 
returned  to  England  and  rejoined  his  old 
regiment,  the  1st  Lines,  as  captain. 
What  he  achieved  during  the  great 
catastrophe  I  could  never  find  out,  but 


R.  Terreneau  is  turning  for  George 
Cooper  at  Clapham. 

E.  Grant  is  not  the  only  cameraman 
off  to  Australia.  Will  Howse  sails  within 
the  next  fortnight. 


Kenneth  Gordon  is  abroad — but  his 
mission  and  destination  are  a  secret  until 
he  returns  in  a  few  days. 


Percy  Strong  is  turning-  on  “Tip-toes.” 
This  does  not  mean  he  is  rehearsing  for 
the  dance  after  the  K.C.S.  dinner. 


Many  deserved  compliments  on  “The 
Romany  ”  photography  have  been  made, 
and  Percy  Strong  has  certainly  made  a 
reputation  thereby — a  result  which  is  all 
the  more  creditable  on  account  ot  the 
bad  weather  so  often  experienced. 

We  are  asked  by  Pathe  Freres  Cinema 
to  correct  a  possible  misapprehension  re¬ 
garding  the  St.  Paul’s  film.  Kenneth 
Gordon,  with  two  other  cameramen,  was 
responsible  for  the  photography  for  Pathe, 
who  are  issuing  the  subject  very  shortly. 


ff  he  usual  weekly  meeting  was  held  on 


that  it  was  something  out  of  the  ordinary 
is  certain  from  the  fact  that  not  only 
was  he  awarded  the  coveted  decoration 
of  the  D.S  O.,  but  also  received  pro¬ 
motion  after  promotion  until  he  became 
brig. -general,  with  which  high  rank  he 
was  placed  on  the  retired  list  on  demobili¬ 
sation. 

“  With  his  health  impaired  and  his 
business  abroad  lost,  there  seemed  no¬ 
thing  for  him  to  do  but  remain  in  Eng¬ 
land.  He  took  over  the  management  of 
the  Club  at  a  critical  time,  but  his  tact, 
geniality  and  business  capacity  went  far 
towards  lessening  the  difficulties  with 
which  it  was  beset. 

“  in  the  hope  of  gaining  further  in¬ 
formation,  I  interviewed  his  widow,  but 
her  onlv  comment  was  :  ‘He  wlas  one  of 
England’s  most  gallant  gentlemen.’  That 
explains  everything. 

“Only  a  few  months  ago,  after  leaving 
the.  Club,  he  and  his  wife  opened  a  small 
restaurant  with  the  object  of  catering  for 
people  like  themselves  whose  financial 
circumstances  had  been  so  seriously  af¬ 
fected  by  the  war.  This  restaurant,  ap- 
eropriately  named  ‘The  Venture,’  is  situ¬ 
ated  in  Carnaby  Street,  at  the  back  of 
Regent  Street,  and  is  still  being  carried 
on  by  his  widow. 

“  In  accordance  with  our  custom,  a 
wreath  was  sent  by  the  Club  and  letters 
of  gratitude  for  our  sympathy  have  been 
received  from  his  widow  as  well  as  from 
members  of  his  family.” 


Friday  the  12th,  and  the  Chairman,  H. 
Sanders,  proposed  that  in  future  the 
Society  would  meet  at  the  Kinema  Club 
every  third  Friday  in  the  month.  This 
was  agreed  to. 

The  dinner,  concert  and  dance,  to  be 
held  at  the  Holborn  Restaurant,  on 
February  16th,  promises  to  be  a  well-at¬ 
tended  function.  Tickets  are  on  sale  at 
the  Kinema  Club,  and  can  also  be  obtained 
from  Committee  members,  price  12s.  6d., 
double  tickets  (lady  and  gentleman),  21s. 

The  annual  general  meeting  of  the 
Society  will  take  place  at  the  Kinema 
Club  on  Friday,  February  2nd. 


Emile  Lauste.  of  Welsh-Pearson  and 
Co.,  made  the  Trade  show  copy  of  “The 
Romany.”  Lauste  has  temporarily  for¬ 
saken  the  camera  for  the  dark-room — 
being  a  firm  believer  that  the  laboratory 
is  as  important  as  the  camera.  Who, 
indeed,  will  deny  that  the  most  vital  side 
of  production  is  that  of  the  master  copy — 
the  negative?  In  spite  of  the  meticulous 
care  of  the  precious  celluloid  being  recog¬ 
nised  as  essentia],  there  are  still — and, 
we  fear,  there  wi  11  continue  to  be — pro¬ 
ductions  excellent  in  every  other  way 
jeopardised  bv  lack  of  due  attention  in 
this  direction. 


REX  WILSON’S 
FILM  SCHOOL 

Producer  Who  Should  Know  Better 

O  NE  is  less  surprised  when  a  school  for 
instruction  in  kinema-acting  is 
started  by  an  obvious  “shark  ”  than  when 
a  British  producer  of  some  responsibility 
and  repute,  with  a  record  of  pictures, 
launches  out  into  such  a  scheme.  We 
make  not  the  slightest  imputation  against 
Rex  Wilson,  whom  we  dare  say  may  be 
under  the  honest  impression  that  he  is 
performing  some  real  service  to  the  In¬ 
dustry  and  to  the  British  nation,  by  his 
latest  enterprise.  We  have  no  evidence 
whatever  that  he  promises  work  as  a 
result  of  such  alleged  training,  and  con¬ 
gratulate  him  upon  his  honesty  in  re¬ 
fraining  from  doing  so. 

At  the  same  time,  his  scheme  as  out¬ 
lined  in  the  brochure  before  us — which 
describes  him  with  refreshing  candour  as 
“  the  greatest  director  this  country  has 
yet  known  ” — is  calculated  to  encourage 
the  most  misleading  impressions  in  the 
minds  of  those  whose  lack  of  knowledge 
induces  them  to  contemplate  joining  the 
already  swollen  ranks  of  the  film-players 
of  Great  Britain.  Although  he  expressly 
does  not  wish  “  to  raise  false  hopes,”- 
those  who  successfully  pass  through  the 
tests  will  be,  “  without  a  shadow  of  a 
doubt,  accomplished  and  efficient  kinema 
artistes,  equipped  to  take  their  place  and 
worthily  sustain  the  high  standard  ex¬ 
pected,  indeed  demanded  of  them,  in  any 
of  the  finest  productions  of  the  future.  ” 

This  is  unquestionably  a  suggestion 
that  the  training  is  a  short  cut  to  fame. 
Mr.  Wilson’s  omissions  are  surely  calcu¬ 
lated.  Even  if  his  tuition  made  his  pupils 
into  film  players  of  experience,  those 
pupils  might  be  interested,  first,  in  the 
circumstance  that  there  are  countless 
dozens  of  experienced  professional  artistes 
whose  claims  for  preference  the  intrusive 
amateur  has  no  grounds  whatever  for  sup¬ 
planting  ;  secondly,  that  the  mere  fact  of 
an  applicant  for  screen  work  having  been 
to  a  film-school  will  effectually  prevent  his 
engagement  by  nine  firms  out  of  ten  ; 
and  lastly,  that  the  screen  stars  who  have- 
won  through  have  started  precariously  in 
crowds  and  small  parts  without  having 
resort  to  any  so-called  training. 

Applicants  are  being  informed  that  in¬ 
struction  is  being  now  given  at  a  fee  of 
certain  guineas  per  month,  and  that  any 
applicant  found  unsuitable  will  have  most 
of  his  fee  returned.  Mr.  Wilson’s  own 
“  mature  judgment”  will  in  all  cases  de¬ 
cide  these  things,  and  he  announces  in 
print  his  determination  to  get  his  cast  in 
England  for  his  productions.  No  doubt 
details  of  his  coming  pictures  will  be  duly 
announced.  We  await  them  with  interest 
and  without  prejudice,  and  meanwhile  w«e 
are  wondering  why  he  is  teaching  ama¬ 
teurs  to  become  film-actors  instead  of  get¬ 
ting  on  with  his  productions. 


Charles  Wilcox  sails  tc  dnv  (Saturday) 
on  the  Berengaria ,  for  New  York,  repre¬ 
senting  Graham-Wilcox  productions,  We 
understand  that  Graham  Cutts  was  to 
have  accompanied  him,  but  has  had  the 
bad  luck  to  have  been  taken  suddenly  ill. 


Cameramen’s  Section 

News  and  Views  and  Record  of  Activities  of 

Kine-Cameramen 


14 


THE  MOTION  PICTURE  STUDIO 


January  20,  1923 


W 


Adelqui  Millar  Productions. —  1,  Le  in- 

ster  Square,  W.2.  Park  1258. 

Albert-Phillips  Film  Production. — 3, 

Wardour  Street,  W.  1.  Regent 32  82. 

Alliance  Film  Co. — St.  Margaret’s, 
Twickenham.  Richmond  194  5. 

Route  :  ’Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s  every 
10  minutes. 

Artistic  Films,  Ltd. — 93-95.  Wardour 
Street,  W.l.  Gerrard  3210. 

Film  :  “  The  Monkey’s  Paw.” 

Director  :  Manning  Haynes. 

Scenarist  :  Lydia  Hayward. 

Stars  :  Moore  Marriott  and  Mary 
Ault. 

Cameraman  :  Frank  Grainger. 

Stage  :  Eleventh  week. 

Astor  Productions. — 40,  Shaftesbury 
Avenue,  London,  W.  Gerrard  8436. 

Director  :  Peter  Astor. 

Atlas  Biocraft. — -58,  Haymarket,  Lon¬ 
don,  S.W.  1. 

Brouett  Productions.  —  Barker’s 
Studios,  Ealing  Green,  W.  5. 
’Phone:  Ealing  211  and  1582. 

Route  :  District  or  C.L.R.  Tube  to 
Ealing  Broadway.  Piccadilly  Tube, 
change  at  Hammersmith.  ’Bus 
Route  No.  17. 

Films  :  Fred  Karno  Comedies. 

Director  :  Albert  Brouett. 

Scenarist  :  P.  L.  Mannock. 

Cameraman  :  L.  G.  Egrot. 

Studio  Manager  :  H.  C.  Wans- 
borough. 

Stage  :  Casting. 

B.  &  C.  Productions. — Hoe  Street, 
Walthamstow.  Walthamstow  364 
and  712. 

Route  :  ’Bus  38.  Tram  81  to 
Bakers’  Arms.  Trains  from  Liver¬ 
pool  Street  to  Hoe  Street  every 
few  minutes. 

Film  :  “  Wonder  Women  of  the 
World.” 

Type  :  One-reelers. 

Director  :  Edwin  Greenwood. 

Scenarist  :  Elliot  Stannard  and 
Edwin  Greenwood. 

Cameraman  :  A.  G.  Kingston. 

Stage  :  One  a  fortnight. 


Film  :  “  Gems  of  Literature.” 

Director  :  Edwin  J.  Collins. 

Type  :  Two-reel  dramas. 

Cameraman  :  A.  G.  Kingston. 

Scenarist  :  Eliot  Stannard. 

Stage  :  One  a  fortnight. 

Baron  Films. — 91,  St.  Martin’s  Lane, 
W.C.2. 

Bayard  Films. — B.  P.  Studios,  Thorn- 
House,  Thornton  Road,  Clapham 
Park,  Streatham,  2652. 

Film  :  “  The  Forfeit.” 

Star  :  Lilian  Braithwaite. 

Director  :  Campbell  Gullan. 

Cameraman  :  Percy  Anthony. 

Beehive  Production. — 

Production  Manager  :  Geoffrey 
Benstead. 

Directors  :  George  Dewhurst  and 
Bers  Haldane 

Assistant  Director  :  Horace  Cor- 
byn. 

Scenarist  :  Jack  Denton. 

Stars  :  Jimmy  Reardon  and  Mar¬ 
garet  Hope. 

Cameramen  :  G.  Pauli  and  Bert  Ford 

Stage  :  Scheduled. 

British  Famous  Films.  —  “  Wood¬ 
lands,”  High  Road,  Whetstone. 
Finchley  1297. 

Studio  Vacant. 

British  and  Oriental. — B.P.  Studios, 
Thornton  House,  Thornton  Road, 
Clapham  Park.  Streatham  2652. 

British  Photoplays. — Devon  Cham¬ 
bers,  28,  Fleet  Street,  Torquay. 

Not  Working. 

British  Productions. — Selborne  Road, 
Hove. 

ilm  :  Title  undecided. 


Complete  List  of  all  the  British  Studios,  together 
with  Addresses,  Telephone  Numbers,  Full  Par¬ 
ticulars  of  Current  Productions  and  Routes  for 
::  ::  ::  ::  Reaching  the  Studios  ::  ::  ::  :: 


Director  :  Lieut.  Daring. 

Star  :  Lieut.  Daring. 

Cameraman  :  Bert  Ford. 

British  Super  Films. — Wort  on  Hall, 
Isleworth.  Hounslow  212. 

Route  :  ’Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth  : 
A.m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 

past  each  hour  until  11.51  p.m. 
Extra  trains  :  4.43,  5.13,  5.43, 

6.13.  6.43,  7.13. 

Isleworth  to  “Waterloo  :  8.33. 

8.44.  9.3,  9.13,  9.33,  9.44,  10.14, 

10.44.  Same  minutes  past  every 

hour  until  10.44,  11.14  p.m. 

Extra  trains  :  5.30,  6.0,  6.30. 

Daisy  Productions. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson. — Lea  Bridge  Road,  E.10. 

Walthamstow  634. 

Route  :  ’Bus  Nos.  35  and  38.  Trams 
81,  55,  57. 

Dewhurst  Productions. 

Film  :  “  What  the  Butler  Saw.” 
Director  :  George  Dewhurst. 

Star  :  Madge  Stuart. 

Cameraman  :  G.  Pauli. 

Stage  :  Cutting  and  assembling. 


Film  :  “  The  Uninvited  Guest.’ 
Director  :  George  Dewhurst. 


Star  :  Stewart  Rome. 

Cameraman  :  G.  Pauli. 

Stage  :  Cutting  and  assembling. 

F.  P.-Lasky. — Poole  Street,  Isling¬ 
ton.  Dalston  2770. 

Route  :  ’Bus  38a.  to  New  North 
Road,  and  then  tram  No.  11. 

Gaumont. — Lime  Grove,  Shepherd’s 
Bush,  W.12.  Hammersmith  2090- 
1-2. 

Route  :  ’Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station. 

Film  :  “  Fires  of  Fate.” 

Director  :  Tom  Terriss. 

Star  :  Wanda  Hawley. 

Stage  :  Scheduled. 

Glen  Film  Productions. — 20,  Lisle 
Street.  W.C. 

Studio  :  “  Belgrave,”  Marine  Ter¬ 
race,  Aberystwyth. 

Not  working. 

“  Gems  of  Art  ”  Film  Co.,  Ltd. — - 

1.  Bear  Street,  W.C. 

Films  :  “  Gems  of  Art.” 

Director  :  Norman  Macdonald. 

Cameraman  :  E.  Groc. 

Stage  :  Fourth  week. 

George  Clark  Productions. — 47,  Ber¬ 
ners  Street,  W.l.  Museum  3012. 

Film  :  “  The  Starlit  Garden.” 

Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Cameraman  :  H.  A.  Rendall. 

Stage  :  Sixth  week. 


WE  CAN  DELIVER  FROM  STOCK 

The  Columbia  12  in.  by  i  in-  Silver-tipped 
Carbons  for  Wohl  and  other  Studio  Lamps. 

Recommended  by  Wohl  s  as  the  only  suitable  Carbon 
for  their  Lamps. 

UNITED  KINGDOM  PHOTOPL4YS,  Ltd 

29a,  CHARING  CROSS  ROAD,  W.C  2. 

’Phone  :  Gerrard  8742. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


U 


’Phone 


DEBRIE 


99 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W.  1 


Graham  Wilcox  Productions. — 174, 
Wardour  Street,  London,  W.  1. 
’Phone  :  Regent  556-7. 

Next  Film  :  "  (  hn  Chin  Chow.” 
Director  :  Graham  Cutts. 

Stage  :  Scheduled. 

Granger-Binger. — 191,  Wardour  St., 
W.l.  Gerrard  1081,  1728. 

Studios  :  Haarlem,  Holland. 

Film  :  “  The  Hypocrites.” 

Stage  :  Completed. 

Film  :  “  The  Lion’s  Mouse.” 

Stage  :  Completed. 

Granville  Productions. — 61.  Berners 
Street,  W.l.  Museum  2528. 

Film  :  “  Hennessey  of  Moresby.” 
Director  :  Fred  Le  Roy  Granville. 
Stage  :  Starting  shortly. 

Hardy. — 13.  Gerrard  Street,  W.l. 
Gerrard  2284. 

Harma  Clarendon. — 16.  Limes  Road, 
Croydon.  Croydon  921  and  2084. 
Hep  worth  Picture  Plays. — Walton* 
on-Thames.  Walton  16. 

Route  :  From  Waterloo  :  A.m., 
7.0,  8.0,  9.20,  10.20.  11.20  :  p.m., 
12.20,  1.20,  2.20,  3.20,  4.20,  4,54, 
5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  8.20,  8.55,  9.20,  10.20, 
11.54. 

From  Walton  :  A.m.,  7.59,  8.29, 
8.41,  8.56,  9.9,  9.46,  10.10,  11.10  ; 
p.m.,  12.10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44.  6.10,  7.10,  8.10,  9.10, 

10.10,  10.35.  11.34. 

N.B. — There  is  a.  frequent  train 
service  to  and  from  Shepperton  from 
Waterloo.  The  station  is  as  near  as 
Walton  to  the  studio. 

Film  :  “  Pipes  of  Pan.” 

Star  :  Alma  Taylor. 

Scenarist  :  George  Dewhurst. 
Director  :  Cecil  M.  Ilepworth. 
Stage  :  Completed. 


Film  :  “  Lily  of  the  Valley.” 

Stars  :  Henry  Edwards  and  Chrissie 
White. 

Director  :  Henry  Edwards. 

Stage  :  Completed. 


Film  :  “  Mist  in  the  Valley.” 

Star  :  Alma  Taylor. 

Director  :  Cecil  M.  Ilepworth. 
Stage  :  Completed. 

Ideal.— Boreham  Woods,  Elstree, 
Herts.  Elstree  52. 

Route  :  Trains  from  St.  Pancras  : 
A.m.,  7.30,  8.0,  8.50,  9.55.  10.45. 

,  p.m.,  12.33,  1.13,  2.35; 

4.45,  5.12,  6.2,  6.45,  6.50, 

8.8,  9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras : 
9.48,  10.39,  11.25,  12.31.  1.8,  2.15, 
3.3.  3.56,  4.56,  5.29,  6.18,  6.55, 

7.36,  8.54,  10.14,  11.3. 

Studio  Manager  :  F.  A.  Kendrick. 
Art  Director  :  J.  T.  Garside. 


11.41 

3.55, 

7.20, 


Film  :  “  This  Freedom.” 
Director  :  Denison  Clift. 
Star  :  Fay  Compton. 
Scenarist  :  Denison  Clift. 
Stage  :  Completed. 


Film  :  “  The  Hawk.” 
Director  :  Frank  Crane. 
Star  :  Chas.  Hutchison. 
Stage  :  Ninth  week. 


Film  :  “  Out  to  Win.” 
Director  :  Denison  Clift. 
Stage  :  Scheduled. 


Film  :  “  Mary  Queen  of  Scots.” 
Star  :  Fay  Compton. 

Director  :  Denison  Clift. 

Stage  :  Scheduled. 


Film  :  “  Old  Bill  Through  the  Ages.” 
Director  :  Thomas  Beutley. 

Stage  :  Scheduled. 

Isle  of  Man  Films.— The  Manx  Studios 
Isle  of  Man. 

Not  working. 


RSG6NT5233  Qu&lity  &  Service  WARDOUR  ST 

100%  F I LM  100% 

AMFcoto-Lwon  Developers  &  Printers.  LO0ROH- 


15 


THE  MOTION  PICTURE  STUDIO 


January  20,  1923 


Studio  A  rtistes 

Should  not  miss  the 
original  and  only  Film 
Fan  Monthly  Magazine 


Order  it  from 
your  Newsagent . 


Send  the  Editor  of  “The  Picturegoer”  any  news 
of  your  movements  and  incidents  that  would  make 
interesting  “copy”  and  copies  of  all  your  most 
up-to-date  portraits  and  stills. 


THE  PULSE  OF  THE  STUDIO-Co/iWnnerf  from  previous  page. 


Milton. — Weir  House.  Broom  Hoad, 
Teddington.  Kingston  1617. 
Studio  closed  for  structural  altera¬ 
tions. 

Minerva  Films. — 110,  Victoria  Street 
S.W.l.  Victoria  7545. 

Not  working. 

Progress  Film  Co. — Shoreham-on- 

Sea.  Shoreham  19. 

Quality  Films. — Windsor  Studios 
Catford.  Lee  Green  94  8. 

Film  :  One-  and  two-reelers. 
Director  :  George  A.  Cooper. 
Studio  Manager  :  S.  Folker. 
Cameraman  :  R.  Terreaneau. 

Stage  :  Oue  a  week. 

Raleigh  King  Productions. — Wat- 
comlic  Hall.  Torquay. 

Studio  Vacant. 

Regulus  Films. — 4  8,  Carnaby  Street, 
Regent  Street,  W.l. 

Not  working. 

Samuelson  Film  Co. — Worton  Hall, 
Isleworth. 

Seal  Productions.  —  171,  Wardour 

Street.  Regent  4329. 

Not  working. 

Screenplays. — Cramner  Court,  Clap- 
ham.  Brixton  2  956. 

Route  :  ’Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 


Stoll. — Temple  Road,  Cricklewood. 

Willesden  3293. 

Route  :  ’Bus  No.  16. 

Studio  Manager  :  J.  Grossman. 

Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart  Romo 
and  Edith  Bishop. 

Cameraman  :  D.  P.  Cooper. 

Stage  :  Completed. 


Film  :  “  Top  of  the  World.” 
Director  :  Maurice  Elvey. 
Stage  :  Scheduled. 


Film  :  “  Open  Country.” 

Director  :  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  David 
Hawthorne. 

Cameraman  :  A1  Moise. 

Stage  :  Completed. 


Film  :  “  Sherlock  Holmes  ”  Stories. 
Director  :  George  Ridgwell. 

Star  :  Eille  Norwood. 

Cameraman  :  A1  Moise. 


Film  :  “  The  Sign  of  Four.” 
Director  :  Maurice  Elvey. 

Star  :  Eille  Norwood. 

Cameramen  :  Jack  Cox  and  A1  Moise. 
Stage  :  Tenth  week. 


Film  :  “  The  Wandering  Jew.” 
Star  :  Matheson  Lang. 
Director  :  Maurice  Elvey. 
Stage  :  Starting  shortly.  * 


Film  :  “  Guy  Fawkes.” 
Director  :  Maurice  Elvey. 
Stage  :  Scheduled. 


Films  :  Two-reel  dramas.  “  Fu 
Manchu.” 

Director  :  A.  E.  Coleby. 

Stage  :  Starting  shortly. 

J.  Stuart  Blackton. — Bush  Flouse, 
Aldwych.  Central  193  5. 
Walker-Boyd  Sunshine  Productions. 
Film  :  “  There  and  Back.” 

Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. — Princes 
Studios,  Kew  Bridge.  Chiswick 
574. 

Route  :  ’Bus  Nos.  27,  105. 

Broad  Street  to  Kew.:  A.m.,  8.2, 
8.20,  8.45.  9.0,  9.47,  10.17,  10.47, 

11.17,  11.47;  p.m.,  12.17,  12.47, 

1.17,  1.47,  2.17,  2.47,  3.17,  3.47, 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40, 

6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 

8.47,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street  : 


A.m.,  9.40,  10.8,  10.38,  11.8, 
11.38;  p.m.,  12.8,  12.38,  1.8, 

1.38,  2.8,  2.38,  3.8,  3.38,  4.8,  4.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20, 

6.38,  7.8,  7.38,  8.8  8.38,  9.8,  9.38, 
Film  :  “  The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Florence  Turner,  Kathleen 
Vaughan,  Nora  Swinburne,  Fred 
Wright,  and  James  Knight. 

Stage  :  Cutting  and  assembling. 


Film  :  “  The  Lady  Trainer. 
Star  :  Violet  Hopson. 
Scenarist  :  J.  Bertram  Brown. 
Cameraman  :  G.  Toni. 
Director  :  Walter  West. 

Stage  :  Fifth  week. 


Film:  In  the  Blood.” 

Director  :  Walter  West. 

Stage  :  Commencing  March  1st. 

Welsh  Pearson. — 41-45.  Craven  Park, 
Harlesden,  N.W.10.  Willesden  2  862. 
Route  :  ’Bus  No.  18. 

Film  :  “  Tip-Toes.” 

Star  :  Betty  Balfour. 

Director  :  G.  Pearson. 

Cameramen  :  Percy  Strong  and 
Emile  Lauste. 

Stage  :  Third  week. 


EVERYBODY 

IN  BRITISH  PICTURES 
will  be  at  the  Second 

KINEMA  CLUB 

CARNIVAL 

at  the  HOTEL  CECIL  on 
MONDAY,  FEBRUARY  5. 


Dancing  from  10  p.m.  to  3  a.m. 
Valuable  Prizes  for  the  best 
Fancy  Costumes. 

New  and  Novel  Attractions. 


TICKETS  (  Supper  )  £ 1  :  5  :  O 

Single,  may  be  obtained  from  BILLIE  BRISTOW 
(Organiser),  175  Wardour  Street,  W.l  ;  The 
Kinemi  Club  (Secretary  s  ’Office),  9,  Great 
Newport  Street,  W.C.,  or  any  Member  of  the 

Committee. 

YOU  will  be  there! 


C.  F.  ANDERSON  6?  SON 

13,  Essex  Road,  N.l.  Telephone  Dalston  1840. 

Timber  Merchants 


Specialise  in  the  best  quality 
Dry  Timber  for  Set  Building. 

We  stock  also 

S.  X.  Board  Fire-proofed 

and 

Compo  Board 

As  exclusively  supplied  to 

Famous  Players  Lasky  Studios 

for  three  years. 


Printed  and  Published  hv  ODFLAMS  PRESS  Ltd.,  Long  Acre,  January  20,  1923 


The  Motion  Picture  Studio,  Saturday,  January  20,  1923 


Registered  at  the  G-P.O.  as  a  newspaper. 


The  Of fic i cl  L  Organ  of  the  ~i<o inemct  C/llB 


Vol.  II  No.  85 


Saturday,  January  20,  1923 


Twopence 


Suite  13,  PALACE  HOUSE,  | 
128-132, 
SHAFTESBURY  AVENUE,  ! 

W.l.  | 


I  Telephones  :  JJ  A  V  REGENT  4329  | 

,,  5326 

'  NIGHT.  Hampstead  8311  i 

Telegraphic  Address  ; 

1  JAYSARTAG.  WESTCENT.  I  ONDON  j 

OIDNEY  JAY  wishes  to  announce  that  in  order 
^  to  avoid  any  possible  misunderstanding,  he 
was  responsible  for  negotiating  the  undermentioned 
engagements  during  the  past  few  months  : — 


n 


The  Entire  Cast  of  .  “PADDY — THE  NEXT  BEST  THING” 

(Graham  Wilcox) 

„  „  .  “THE  HYPOCRITES”  ...  (Hollandia) 

„  .  “BULLDOG  DRUMMOND”  ...  (  „  ) 

„  .  “THE  LION’S  MOUSE”  ...  (  „  ) 

The  Entire  Cast  (with  two  exceptions)  of  “  A  ROYAL  DIVORCE”  (Napoleon  Film  Co.) 

„  „  „  „  “FLAMES  OF  PASSION”  (Graham  Wilcox) 

The  Major  Portion  of  the  Cast  in  ...  “THE  HOTEL  MOUSE”  ...  (British  Super) 

„  ...  “IF  FOUR  WALLS  TOLD”  ...  (  „  ) 

„  „  „  „  ...  “  THE  RIGHT  TO  STRIKE  ”  „(  „  ) 

„  „  „  „  ...  “THE  FAITHFUL  HEART”  „(  „  ) 

MATHESON  LANG  &  ISOBEL  ELSOM  in  “DICK  TURPIN’S  RIDE  TO  YORK  ”  (S  oil) 
The  Major  Portion  of  the  Cast  in  WALTER  WEST'S  6  LATEST  PRODUCTIONS 
„  „  „  „  of  “HARBOUR  LIGHTS”  (Tom  Terriss)  ...  (Ideal) 

And  WANDA  HAWLEY  and  PEDRO  CORDOBA  in  Tom  Terriss’  forthcoming 

production  “FIRES  OF  FATE”  for  the  Gaumont  Co. 


THc  MOTION  PICTURE  STUD1  j 


January  20,  1923 


ARTISTES 


THELMA 

MURRAY 

Character  &  Emotional  parts 
Leads  for  Stoll,  Masters, 
Raleigh  King,  B  &  C.,  etc. 
All  corns  :  “LYND  vLE.” 
OAKLEY  RD.. 
WHYTELEAFE,  UR  REV, 
or  to  the  Kinema  Club. 


NOEL  GRAHAME 

Heavy  Character  &  Comedy. 
Heavy  lead  :  “  Bladys  of  the 
Stewponey,”  “Cost  of  a  Kiss,” 
“  Britain’s  Naval  Secret,”  etc. 
11,  Clanricarde  Gardens, 

Hyde  Bark,  W.2. 
Park  4514. 
and  Kinema  Club. 

Photo  bv  Nav  n<a 


DOUGLAS  WEBSTER 

Juvenile  Character  Leads, 
stage  Experience. 

Just  completed  “Leroy 
Lindsay”  in  “Shifting  Sands” 
(Granville  Productions). 
All  corns. :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av. 
’Phone  :  Rege  t  4329. 


MARY  ODETTE 

Just  concluded  :  “  The  Lion’s 
Mouse”  an  “The  Hypo¬ 
crites  ” 

Latest  Rele  ses  : 

“VAondeiful  Year’ 

“AH  Roads  Lead  to  Calvary.” 
All  corns.  :  Sid'iey  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av.,W,i 
R  event  829. 


GORDON  BEGG 

Dramatic  —  Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.  11, 

Telephone:  Ratterse  21. 


DEZMA  DU  MAY 

1  Long  Odds”  (Stoll),  “  Rob 
Roy”  (Gaumont),  “  Pearl  for 
Pearl  ”  (Quality),  also  Welsh- 
Pearson,  Alliance  Screen 
Plays,  Iueal,  Davidson’s. 


170,  HIGH  ROAD, 

ILFORD, 


MELINDA  LLOYD 


The  Councillor’s 
n  “The  Card,”  Ideal, 


Alliance, 

Wife 

Samuelson,  Granville  Pro 
ductions,  Laskys,  etc. 

24,  PARK  VIEW, 
WELLING,  KENT. 


GEORGE  KEENE 

Star  Lead.  Disengaged. 
Feafwitic;  -  “Black  Sheep,” 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters,” 

“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 
Address  : 

121b,  Church  St.,  Croydon 
’Phone  :  Croydon  835. 


PHOTO 

BLOCK 


THIS  SPACE 
TQ  LET 

£3  for  13 

insertions, 
including  ci  st  of 
making  block. 


F.  C  R  E  M  L  I  N  , 

Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club 


ARTlSTEs  .  . 


Hi® 

ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 
Character  P.irts,  “  Mrs.  Gatty,”  in  “Christie 
Johnstone  ”  (Broadwest),  “  Margaret  Howe” 
in  “  Beside  the  Bonny  Brier  Bush  ”  ( Lasky), 
“  Nanny  ”  in  “  Tell  your  Children  ’’  (Interna¬ 
tiona')  “Anna  ”  in  “  The  Prodigal  Son  ”  (Stoll). 

33.  Campden  St.,  Kensington.  W.8. 

Tel.  :  Park  3623. 

ARTHUR  PUSEY 

At  present  South  Africa 

Starring  in  “  The  Blue  Lagoon”  for  I ALT.  A. 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 

THIS  SPACE  TO  LET 
£2  10  0  for  13  insertions 

MILTON  ROSMER 

INVITES  OFFERS. 

16,  Weymouth  Street,  W. 1.  ’Phone:  Langham  2243 

MRS.  HUBERT  WILLIS, 

Character  and  Emotional  Parts. 

29,  St.  Peter's  Square,  W.6.  ’Phone  :  Hammersmith  85, 
or  Kinema  Club.  Regent  630. 

MARIE  A  U  L  1  , 

Character  and  Comedy. 

235.  Kings  Road,  Chelsea 

WARREN  HASTINGS, 

5,  POND  PLACE. 

CHELSEA,  S.W. 3. 

IN  V  1  T  E  S  OFFER  S. 

HARCOURT  TEMPLEMAN, 

Assistant  Director  late  Screen  1  lays). 

At  Liberty.  Returned  from  Tour. 

Corns.  :  33,  Ennismorr-  Avenue,  Chiswick,  W.4. 

COSTUMIER.  .  .  . 

Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W, 

’Phene;  Gerrard  612. 

SCENARISTS . 

GERALD  DE  BEAUREPAIRE, 

Editing,  Titling,  Continuities. 

62.  Foxhnurne  Road  Balham,  S.W. 17 

KINCHEN  WOOD. 

Late  Wm.  Fox  Studios,  Los  Angeles. 

7,  Wymering  Mansions,  Maida  Vale,  W.9 

A  DOG 

with  a  wonderful  character,  accompanied 
by  hi  master.  Invites  offers. 

C/o  “M.P.  Studi  .” 


CAMERAMEN.  .  .  . 

ALLRED  H.  MOISE. 

PREMIER  CAMERAMAN— 

:  SCIENTIFIC  OUTFIT.  : 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  etreet,  W.C.2. 

’Phone — Regent  630. 

L.  G .  E  GROT 

EXPERT  CAMERAMAN. 

“  The  Better  ’Ole,  ”  etc.,  etc.,  . 

. “  The  Wonderful  Story.’’ 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Pla  ce,  S.W. 2. 

’Phone  :  Streatham  3085. 

PUB  Lie  I  T  Y  .  . 


“Let  Me  Handle  Your  Account.” 

JOHN  CORNYN 

Advertising  ::  Publicity 

231,  BYRNE  BLDG.,  Los  Angeles, 
Cal  ,  U.S.A. 

G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,’’ 

“  M  LORD  OF  THE  WHITE  ROAD.’’ 
Address  : 

41.  Glasshouse  Street,  W.  1, 

’Phone  :  Regent  4747 
or  Kinema  Club,  Regent  630. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39  th  STREET, 

NEW  YORK  CITY. 
NOW  BACK  IN  LONDON. 


ADVERTISEMENT  RATES 

Professional  Cards  : 

3-col.  cards,  including 

photo  block  -  -  £3  0  0  per  quarter  year 

3-col.  car  ds,  without 

photo  block  -  -  £2  10  0  ,,  „  „ 

Small  cards  -  17  6  ,,  ,,  ,< 

‘‘Who’s  Where”  (2 lines)  12  6  ,,  ,,  ,, 

Per  inch,  single  col. 

(3  to  page)  -  -  5  0,,  insertion 

WILLIE 

DAVIES 

KINEMA  ART  EXPERT, 

161a,  HIGH  STREET, 
KENSINGTON,  S.W. 

Latest  Super  Productions : — ■ 

“  Carnival.”  “  Bohemian  Girl.” 
“  Love  in  a  Whirlwind.” 


? 


January  20,  1923 


THE  MOTION  PICTURE  STUDIO 


Editorial  and 
Advertise¬ 
ment  Offices, 
93.  Long  Acre, 
London,  W.C.2. 


Vol.  2  No.  85 


Telegrams— 
Southernwood, 
Rand,  London, 
Telephone — 
Gerrard  9870. 


Jan.  20,  1923 


The  Star  and  the 
Story  Too 

/V  FORTNIGHT  ago  we  published 
under  the  heading  of  “  Star  or 
Story?”  our  views  on  certain  aspects  of 
this  vexed  question,  in  which  we  deplored 
the  suggestion  current  in  some  quarters 
that  the  two  factors  in  the  photoplay  were 
incompatible.  “  The  play’s  the  thing  ” 
is  as  true  to-day  as  it  was  in  1 602 — although 
Hamlet’s  dramatic  effusion  suffered  some¬ 
what  from  a  tinge  of  personal  propaganda  ; 
and  we  regard  the  exploitation  of  personality 
as  a  necessary  evil  in  view  of  the  enormous 
success  and  popularity  of  the  screen  as  a 
medium  for  doing  so.  Our  chief  point  is, 
however,  that  such  exploitation,  when  part 
of  a  sound  story’s  development,  is  not  an 
evil  at  all,  but  quite  the  reverse  ;  and  we 
have  since  noticed  a  confirmation  of  our 
view  in  the  American  journal.  Camera — a 
publication  whose  mission  as  representative 
of  studio  workers’  interests  corresponds 
closely  to  that  of  the  MOTION  PICTURE 

Studio. 

Stars  who  Realise 
Story  Values 

quote  the  following  from  our 
Transatlantic  prototype  :  “  The 

two  prime  leaders  among  the  stellar  per¬ 
sonalities  of  the  screen,  Charlie  Chaplin 
and  Mary  Pickford,  have  continued  to  rule 
supreme  because  they  usually  demanded 
material  to  work  with.  If  either  had 
permitted  egotism  to  lead  them  into  pre¬ 
senting  any  kind  of  a  story  in  the  belief 
that  the  public  simply  wanted  them  under 
any  circumstances,  their  finish  as  drawing- 
cards  would  have  come  long  ago.  Fre¬ 
quently  Mr.  Chaplin  appears  in  a  comedy 
of  distinct  merit — a  comedy  which  would 
score  a  hit  even  without  him,  and  Miss 
Pickford  has  even  more  frequently  pre¬ 
sented  character  studies  in  the  midst  of 
superior  narratives  which  would  command 
popularity  if  properly  offered  by  anyone 
capable  of  ‘  doing  ’  such  parts.” 

A  Matter  of 
Personality ,  Too. 

"  p^ATURALLY  the  personality  of  each 
has  helped  matters  along  prodigi¬ 
ously  in  every  story  they  have  essayed,  but 
no  master  or  mistress  of  the  histrionic  art 
could  be  constantly  saving  bad  stories  by 
dint  of  his  or  her  own  particular  ability.  It 
is  to  be  hoped  that  many  other  stars  will 


learn  this ;  it  is  also  to  be  devoutly 
hoped  that  producers  will  see  it  and  act 
accordingly.” 

The  “  Let-down  ” 
of  the  Star 

must  be  obvious  that  the  placing  of 
the  star  as  the  one  reliable  factor  in 
a  picture  is  a  policy  doomed  to  disaster — 
and  disaster  which  is  the  more  complete 
because  its  results  are  not  immediately 
felt.  There  are  many  instances  of  first- 
class  players  being  “  let  down  ”  by  one  or 
two  bad  stories  and  finding  it  subsequently 
difficult  to  regain  popularity  even  with  a 
good  one.  Those  responsible  fell  into  the 
crass  error  of  thinking  that  the  public 
would  like  the  stars  irrespective  of  the 
merits  of  the  story.  The  reverse  is  the 
case.  Personally,  we  often  go  to  see  a 
picture  featuring  this  or  that  player  because 
our  experience  tells  us  that  he  (or  shef 
usually  is  cleverly  exploited  in  a  good 
story  ;  and  the  picture  public  are,  con¬ 
sciously  or  unconsciously,  actuated  by  the 
same  feelings. 

How  can  they 
Tell  ? 

must  not  be  overlooked  that  at  present 
the  star’s  name  is  the  only  indication 
of  the  film’s  merit  accessible  to  the  out¬ 
side  public,  who  are  not  as  yet  students  of 
film  criticism.  It  follows,  then,  that  the 
star  who  wishes  to  remain  scintillating  in 
the  firmament  of  favour  must  always  be 
provided  with  good  story  material  as  a 
vehicle  ;  and  it  is  only  justice  to  add  that 
the  most  intelligent  American  directors 
recognise  this  fully.  Would  that  all 
directors — and  heads  of  firms — did  the 
same  !  There  would  be  more  hope  for 
the  scenarist,  who,  in  time,  might 
even  persuade  those  in  authority  to  film 
a  story  for  its  own  sake  ! 

Hustle  and  its 
Evils 

HE  ‘  4  sausage-machine  ”  producing 
organisation  is  by  no  means  a 
peculiar  product  of  America.  It  is  difficult 
to  say  which  is  worse — the  picture  which 
takes  so  long  that  the  original  enthusiasm 
of  those  concerned  turns  from  apathy  to 
loathing,  and  the  enormous  overhead 
charges  make  a  financial  return  seem  more 
and  more  remote,  or  the  picture  ”  shot  ” 
against  time  under  a  system  which  penalises 
those  who  exceed  its  inadequate  duration, 
and  is  scrambled  through  in  a  frenzy  of 


energy  which  destroys  any  possibility  of 
inspired  or  thoughtful  work.  Artistically 
we  prefer  the  former  extreme.  A  recent 
production  has  been  made  in  a  protracted 
burst  of  feverish  energy  which  has  entailed 
an  enormous  amount  of  night  work — 
presumably  to  save  time  on  production. 
We  hope  the  artistic  and  even  the  financial 
result  will  justify  the  rush  ;  but  we  are 
quite  satisfied  that  the  artistes — not  only 
44  crowd  ”  and  small  part  players,  but 
principals  also — found  the  strain  and 
occasional  hardships  of  many  consecutive 
hours’  work  under  uncomfortable  con¬ 
ditions  a  real  obstacle  to  their  giving  of 
their  best. 

Not  Yet 
Extinct 

HE  overwhelming  majority  of 
producers  and  others  who  engage 
artistes  to-day  are  men  of  decent  instincts 
and  scrupulous  demeanour  to  those 
approaching  them.  It  is  in  the  interests 
of  the  white  men  we  all  know  that  the 
elimination  of  the  occasional  pestilential 
libertine  is  most  desirable,  and  we  are  glad 
to  say  that  the  number  of  instances  of 
offensive  behaviour  to  young  girl  artistes 
is  apparently  steadily  on  the  wane. 
Occasionally,  however,  a  complaint  reaches 
us  which  indicates  that  the  voluptuary  in 
authority  still  exists.  An  attractive  young 
artiste  of  experience  was  subjected  to  an 
outrageously  cool  proposal  of  the  obvious 
kind  last  week  by  a  man  whose  name  is, 
we  regret  to  say,  well  known  in  the  field 
of  British  production.  We  are  quite 
satisfied  that  the  complaint  was  fully 
justified,  but,  of  course,  the  offender  was 
careful  and,  therefore,  quite  safe.  He  will 
remain  safe  by  being  more  careful  still. 

“  Advertising 
April” 

CYBIL  THORNDIKE’S  new  play, 

^  with  the  above  title,  deals  with  the 
Press-agent  husband  of  a  famous  film-star, 
so  we  are  told.  We  are  not  sure  whether 
we  ought  to  protest  against  this  fresh 
instance  of  letting  the  public  behind  the 
sceneS  !  ”  On  reflection,  we  don’t  think 
we  will.  Rather  will  we  endorse  the 
comment  of  our  esteemed  Carados  of 
the  Referee  :  44  Here  and  now  I  will  defy 
the  authors  to  invent  any  Press  stunts  to 
equal  in  wild  ridiculousness  most  of  those 
sent  around  from  time  to  time  ! 


3 


THE  MOTION  PICTURE  STUDIO 


January  20,  1923 


Several  Directors  have  explained  to  us  the  difticulty 
they  have  of  getting  quickly  into  touch  with  aitisles 
and  others  whom  they  need  for  their  productions,  and 
have  suggested  that  we  publish  addresses  and  .elephone 
numbers  of  such. 


ASHTON,  CHARLES.  Crantock,  Hainault 
Road,  Leytonstone,  E.,  or  Kinema  Club. 

ATWOOD,  ALBAN :  25,  Stanley  Crescent, 

W.  11.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.n.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercorn  Place,  N.W. 
Hampstead  3u83 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

CAREW,  JAMES,  15,  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3904 

CHESNEY,  ELIZABETH  :  c/o  Miss  Morris, 
25,  Clevedon  Gardens,  W.2.  (Flat  4). 
Padd.  5844. 

DARLEY,  BERT,  Kinema  Club,  9,  Great 
New  port  Street.  Regent  630. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
RedclifFe  Gardens,  SAV.  10  ’Phone: 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.i  1.  Park  2077. 

ESMOND,  ANNIE,  43,  Richmond  Road, 
Westbou  ne  Grove,  W  2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

GRACE,  ADELAIDE,  103,  Morshead 
Mansions,  Maida  Vale,  W.  9. 

GREGORY,  FRANK,  Character ,  107,  St. 
Alban's  Avenue,  W.4. 

HARRIS,  GEORGE,  33,  Torrington  Square, 
W.C.l. 

HOPE,  MARGARET,  Character  and  Juvenile 
Leads.  Late  Ideal,  Masters,  Stolls,  etc., 
etc.,  5,  Balcombe  Street,  Dorset  Square, 
N.W. 1.  Padd.  2284. 

HOWARD,  LIONELLE  :  108,  Alderbrook 
Road,  Balham,  S.W.12. 

HUNTER,  ALEX.  G.,  222,  Camberwell 
New  Road,  S.E 

JONES,  T.  ARTHUR:  “High  Tor,” 
Summer  Road,  Hampton  Court. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  630. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977. 

NICHOL,  EMILIE  :  42,  St.  John’s  Wood 
Park,  N.W.  Hampstead  5633. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

PAXTON,  SYDNEY  :  28,  Bedford  Place, 
Russell  Square,  W.C.  Museum,  7235. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell,  S.E.5. 


RAYNER,  MINNIE  :  Kingwater  Cottage, 
Church  Walk,  Thames  Ditton. 

RAYNOR,  ALBERT  E.,  “Strathmore,” 
Spencer  Road,  Chiswick,  W.4. 

ROME,  STEWART  :  10,  Chisholms  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  32.  Lauderdale  Mans., 
Maida  Vale.  Maida  Vale  2177. 

SHEE,  FLORENCE:  221,  Elgin  Avenue, 
W.9.  Messages  Paddington  6036. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  15,  Grove 
Mansions,  North  Side,  Clapham  Com¬ 
mon  12,  Latchmere  4343. 

STEERMAN  A.  HARDING:  56  Portland 
Road,  W.ix.  Park  2529. 

STERROLL,  GERTRUDE :  14,  Queen’s 

Road.  St.  John’s  Wood,  N.W.8 

TEMPLETON,  BEATRIX:  20,  Foxglove 
Street,  Wormholt  Estate,  W.  12. 

THATCHER,  GEORGE:  33,  Denbigh 
Street,  Belgrave  Road,  S.W.  Victoria 
2060. 

TOD  MALCOLM,  The  Kmema  Club,  9, 
Gt.  Newport  St.,  W.C. 2. 

TREE,  MADGE  :  15,  Lancaster  Court,  New¬ 
man  St.,  W.i.  Museum  7241. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 
630. 

WALCOTT,  ARTHUR:  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  630. 

WILLIS,  HUBERT,  Mrs.,  29,  St.  Peter’s 
Square,  W.6.  Hammersmith  85. 

YORK,  CECIL  MORTON  :  Kinema  Club, 
9,  Great  Newport  Street.  Regent  630. 

Two  lines,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a  year,  prepaid. 

Extra  lines,  is.  per  insertion. 


“  the  most  useful  column,  to  my  mind, 
and  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  is  ‘Who’s 
Where.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.  ’  ’ 
CHALLIS  N.  SANDERSON. 

“  T  PERSONALLY  would  like  to  see 
-*■  more  artistes  using  vour  space  under 
the  heading  of  ‘  Who’s  Where.’  ” 

H.  B.  PARKINSON. 
T’HE  column  which  is  of  most  service 
to  us,  and  which  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  ” 
NORMAN  WALKER  (Capt.),  Alliance  Films. 


To  Kinema  Club  Members  and  others  — 

PICTURE  POSTCARDS 
- SUPPLIED - 

From  your  own  Photo,  in  best  glossy  style  : — 

One  position,  per  gross . 17/6 

Two  positions.  Half  gross  of  eacn  -  30/- 

Single  dozen  -  --  -  -  -  -  -  -  3/5 

Enlargements,  each  10/6 

Samples  can  be  seen  at 
THE  PICTURE  SALON, 

88,  Long  Acre,  W.C. 2. 


The  Vade  Mecum  of 
the  Film  Business: — 

THE 

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1923  Issue  ready  shortly. 


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4 


January  20,  1923 


THE  MOTION  PICTURE  STUDIO 


HIGH  LIGHTS 

Intimate  Studio  and  Club  Gossip 


The  latest  importation  of  American 
stars  for  British  pictures  is  of 
special  interest.  Wanda  Hawley,  we 
are  informed  is  coming"  to  play  for 
Gaumont  in  the  first  picture  to  be 
directed  at  Shepherd’s  Bush  by  Tom 
Terriss.  This  is  a  version  of  “The 
Fires  of  Fate,’’  Sir  Arthur  Conan 
Doyle’s  play,  in  which  the  late  Lewis 
Waller  scored  heavily  at  the  Lyric 
Theatre  some  ten  years  ago.  The  play 
was  based  on  the  author’s  well-known 
story  “The  Tragedy  of  the  Korosko .” 
Wanda  Hawley,  wh o.  was  raised  to- 
stardom  over  a  year  ago,  is  a  fas¬ 
cinating-  blende,  whose  vogue  in 
American  kinemas  is  undoubted,  and 
whose  popularity  on  this  side  is 
equally  undeniable.  Wanda  is  already 
on  the  way. 

*  *  * 

I  was  sorry  to  hear  that  Violet  Hopson 
had  a  nasty  spill  from  her  horse  a 
few  days  ago,  which  has  incapacitated 
her  for  studio  work  ever  since.  Walter 
West  assures  me  her  injuries  are  not 
very  serious,  and  that  her  one  anxiety 
is  the  production  of  “The  Lady 
Trainer.”  Everyone  will  wish  her  a 
speedy  recovery  and  resumption  of 
activity. 

Desperate  scenes  have  lately  been 
made  for  British  pictures.  The 
Battle  of  Waterloo — an  episode  in 
Samuelson’s  “A  Royal  Divorce  ” — was 
staged  last  week  on  a  vast  scale  at 
Aldershot.  Bad  luck  as  regards 
weather  meant  an  extra  dav’s  delay, 
but  the  actual  fig-hting"  scenes,  with  the 
manipulation  of  the  opposing"  “armies,” 
were  full  of  excitement,  especially 
when  a  slig"htly  premature  explosion 
imparted  an  unrehearsed  touch  of 
realism  by  alarming  those  in  the 
vicinity.  A  very  old  soldier  who  was 
present  is  reported  ■  to  have  declared 
that  it  was  better  than  the  original 
battle,  at  which  he  was  present ;  but 
this  testimony  is  regarded  with  sus¬ 
picion. 

Excitement  of  a  slightly  richer  kind 
characterised  the  highly  thrilling 
depiction,  on  board  a  large  and  ancient 
vessel  not  far  from  the  Nore,  of  a 


fierce  mutiny  of  deported  convicts. 
The  lights,  noise  of  old  firearms,  and 
hand-to-hand  encounters  at  dead  of 
night  caused  much  misgivings  to.  those 
aboard  passing  craft.  Those  who 
inquired  were  soon  enlightened.  So 
far  from  it  being  another  war,  a 
boiler-makers’  wayzgoose,  or  a  Fas¬ 
cist  merchant  enterprise,  the  truth 
came  out  that  George  Ridgwell  was 
shooting  the  big  scene — full  of  “rough 
stuff  ” — in  the  Sherlock  Holmes 
episode  of  “The  Gloria  Scott.” 

*  *  -* 

Tom  Terriss,  who  has.  just  joined 
Gaumont,  is,  of  course,  the  son  of 
the  late  William  Terriss  and  brother 
of  Ellaline  Terriss.  He  has  been  a 
successful  American  director  for  some 
years,  and  has  just  concluded  for  Ideal 
“The  Harbour  Lights,”  with  Tom 
Moore,  specially  imported,  in  the  lead¬ 
ing  role. 

*  *  * 

Terriss  addressed  the  Stoll  Picture 
Theatre  Club  last  week  on  British 
picture  making,  and  his  remarks  were 
greatly  appreciated.  He  defended, 
amongst  other  things,  the  importa¬ 
tion  of  American  stars  for  our  pictures 
with  the  object  of  endowing  them  with 
drawing  power  on  the  other  side. 

It  was  amusing  to-  hear  Terriss  say 
how  different  things  were  over  here. 
Fie  complained  that  the  men  control¬ 
ling  American  production  were  in  many 
cases  uncultured,  ignorant  and  coarse 
types,  who  stifled  art  and  hampered 
development  !  He  is  quite  right — and 
very  luck)"  to  have  kept  clear  of  one 
or  two  examples  in  the  dear  homeland  ! 

* 

Evelyn  Brent  has  been  selected  to  play 
opposite  Douglas  Fairbanks  in  his 
new  super-production,  and  is  now  hard 
at  work  in  the  Fairbanks  studio.  This 
interesting  engagement  was  secured 
by  the  ubiquitous  .Sydney  Jay. 

-*■  * 

K  athleen  Mason’s  lectures  are  doing 
a  lot  of  good  unobtrusively,  and  I 
wonder  whether  the  Kinema  Club’s 
proposed  debating  section  will  mate¬ 


rialise  this  winter?  There  are  many 
authoritative  people  who  would  gladly 
come  and  speak  for  the  asking.  It 
only  wants  some  active  spirit  to  get 
the  project  going,  and  we  are  quite 
sure  that  some  of  the  club  members 
would  welcome  an  extended  circle  for 
the  expression  of  their  views. 

*  *  * 

Paul  Kimberley,  O.B.E.,  had  lunch 
with  me  at  the  Club  one  day  this; 
week.  The  whole  industry  learns  with 
unfeigned  pleasure  of  a  considerably 
renewed  activity  at  the  Walton-on- 
I  hames  studios.  The  house,  of  Hep- 
worth,  apart  from  the  excellence  of 
>ts  products,  has  a  reputation  lot- 
straight  dealing  and  a  long  record  of 
extraordinary  iinteirest  which  makes 
even  a  temporary  eclipse  a  matter 
affecting  the  prestige  of  our  business. 
The  number  of  well-known  figures  in 
our  midst  who  have  graduated  under 
its  auspices  at  some  time  or  other  is 
amazing ;  and  now  that  production  is 
apparently  at  full  blast  again  we  wish 
every  prosperity  to  what  is  probably 
the  oldest-established  film  production 
organisation  now  extant. 

£ 


Judging  by  their  hale  appearance, 
Stewart  Rome,  Cameron  Carr, 
Arthur  Walcott  and  Richard  Lindsay 
are  a  very  bad  advertisement  for 
“suffering  Germany,”  and  the  Ruhr 
advance  would  seem  to  be  almost 
justified.  George  Dewhurst  is  doing 
cutting  in  Berlin,  but  returns  during 
the  coming  week,  with  “What  the 
Butler  Saw,”  and  “The  Uninvited 
Guest  ”  completed. 

*  jf  -sir 


The  Progress  studios  at  Shoreham- 
by-Sea  narrowly  escaped  destruc¬ 
tion  by  fire  in  the  recent  conflagration 
which  gutted  several  bungalows.. 
Considerable  difficulty  was  encountered 
in  combating  the  flames,  and  the 
bungalow  of  a  well-known  stage  and 
screen  actor  was  badly  damaged.  But 
for  a  lucky  change  in  the  wind  the 
studio  would  have  been  involved  or, 
as  1  heard  it  put,  if  the  wind  had 
gone  east,  the  studio  would  have 


fl 


gone  west. 


(\AJLJ2t 


5 


THE  MOTION  PICTURE  STUDIO  January  20,  1923 


Literary  Values  and  the  Photo-play 

The  Need  for  their  more  Careful  Consideration 


A  FAIR  amount  Fas  lately  appeared 
about  continuity  writing  in  various 
journals,  though,  to  my  mind,  strangely 
little  has  been  said  regarding  the  story 
aspect  of  photo-play  construction. 
Scenarists  are  fast  winning  honours  as 
continuity  writers,  pure  and  simple,  but 
leigtimate  screen  dramatists — who  write 
stories  besides  adapting  them — have  by 
no  means  mastered  their  craft,  as 
abundant  evidence  will  testify. 

At  the  present  moment  scenarists  are 
bitterly  complaining  that  directors  have 
still  a  prejudice  against  original  stories. 
Well,  is  it  to  be  wondered  at?  So  far  as 
I  can  see  few  original  stories  are  written  ! 
I  do  not  infer  that  waiters  are  tired  of 
writing  plays  specially  for  screen  adapta¬ 
tion  :  I  mean,  so  many  stories  are  written 
— and,  worse  still,  submitted  ! 

To  begin  at  the  beginning.  It  is  a  very 
regrettable  fact  that  there  are  many  really 
capable  scenarists  to-day  who  are  endea¬ 
vouring — conscientiously'  they  imagine!  — 
to  write  “  originals  ”  for  the  screen,  but 
fail  hooelesslv  at  the  game,  simply  be¬ 
cause  they  do  not  attach  sufficient  import- 


Y^JITH  flagrant  scorn  for  popular  super¬ 
stition,  Maurice  Elvey  and  Isobel 
Elsom  were  quietly  married  last  Satur¬ 
day — the  13th  of  the  month. 

Maurice  Elvey  has  not  lost  his  faculty 
for  dramatic  values,  and  the  announce¬ 
ment  on  Monday  was  in  the  nature  of  a 
happy  revelation — -it  was  rather  too  sud¬ 
den  to  be  called  a  climax,  perhaps,  but 
the  surprise  was  as  genuine  as  could  be 
wished  for  in  any  scenario!  The  Motion 
Picture  Studio  hastens  to  offer  both  Mr. 
and  Mrs.  Elvey  its  heartiest  felicitations— 
belated  only  on  account  of  our  last  issue 
being  on  sale  on  their  wedding  day. 

The  happy  couple  became  engaged  dur¬ 
ing  and  filming  of  “  Dick  Turpin’s  Ride 
to  York,”  and  the  marriage  took  place  at 
the  Marylebone  Road  Registry  Office — 
quite  a  small  “  set  ”1 

Maurice  Elvey  has  produced  about 
eighty  films  or  thereabouts,  and  his  asso¬ 
ciation  with  Stoll,  Ideal,  and  the  London, 
are  pages  of  British  film  history.  Few 
other  Englishmen  can  even  approach  his 
record.  He  was  formerly  on  the  West 
End  |Stagev  We  will  not  attempt  to 
enumerate  his  pictures,  but  his  most 
noteworthy  of  recent  years  have  1  ten 
“Bleak  House,”  “Mr.  Wu,”  “The 
Elusive  Pimpernel,”  and  “  The  Fruitful 
Vine.”  He  is  now  completing  “The 
Sign  of  hour,”  for  Stoll,  and  from  whis¬ 
pers  that  reach  us  it  should  be  worthy  to 
rank  with  his  very  best.  He  is  an  inde- 


by  F.  RUPERT  CREW 

ance  to  the  understanding  of  literary 
values  and  dramatic  construction.  The 
few*  original  plays  that  do  find  their  way 
to  the  screen  are,  as  a  rule,  hopelessly 
hackneyed  in  plot,  and  entirely  devoid  of 
literary  value.  This  fact  then  points  only 
too  clearly  that  their  writers  owe  little  or 
nothing  to  the  fiction-writer’s  craft ;  have 
made  no  attempt  to  study  the  methods 
employed  bv  successful  novelists  and 
dramatists ;  and  have  never  analysed  the 
reasons  why  certain  plays  and  novels  have 
enjoved  such  popularity. 

1  am  of  the  opinion  that  until  the  ambi¬ 
tious  screen  dramatist  takes  the  craft  of 
the  story-teller  seriously,  he  ‘will  never 
“  make  good.”  If  I  ran  a  school  for 
scenarists.  1  would  first  of  all  endeavour 
to  make  the  pupils  learn  the  technique  of 
fiction  writing — from  a  theoretical  point 
of  view.  Of  course,  I  should  not 
attempt  to  make  them  story  writers, 
but  I  Would  insist  upon  them  obtain¬ 
ing  a  thorough  grasp  of  the  rules 
that  govern  this  branch  of  literary  ex¬ 
pression.  At  the  very  least,  I  would 
have  them  acquainted  w  ith  the  technique 


fatigable  worker,  with  the  unerring  know¬ 
ledge  that  only  long  experience  can  bestow 
and  his  methods  of  handling  his 
players  are  effective  chiefly  by  reason  of 
his  quiet  patience  and  considerate  explan¬ 
ation.  The  Stoll  Company  have  certainly 
found  him  a  most  valuable  servant,  for 
it  was  under  his  guidance  that  the  system 
and  methods  of  production  at  Surbiton, 
and  later  at  Cricklewood,  were  inaugur¬ 
ated.  Probably  more  illustrious  personali¬ 
ties  of  the  British  stage  have  been 
handled  by  him  than  by  any  other  man. 

Isobel  Elsom,  after  a  sound  training  on 
tour,  first  broke  in  on  the  West  End  at 
the  Gaiety  Theatre  in  “  After  the  Girl,” 
in  1914 — a  somewhat  mediocre  musical 
comedy  which  gave  her  little  chance  even 
in  the  leading  role,  which  George  Ed- 
wardes  had  kept  secret  until  the  last 
moment.  However,  she  succeeded  Gladys 
Cooper  in  “Mv  Lady’s  Dress,”  a  little 
later,  and  since  then  has  been  one  of  the 
most  charming  and  characteristically 
British  of  musical  play  heroines.  Her 
early  films  soon  revealed  her  photographic 
qualities,  and  she  has  since  been  divided 
in  her  allegiance  to  .stage  and  screen. 
Elvey  has  handled  he  twice  recently,  in 
“Dick  Turpin’s  Ride  to  York,”  and  “The 
Sign  of  Four.”  She  is  at  present  at  the 
Ambassadors  Theatre  in  “  Sweet 
Lavender,”  and  as  her  husband  is  very 
much  occupied  also,  the  honeymoon  is 
being  “scheduled.” 


of  both  the  novelist  and  the  dramatist, 
and  thereby  they  would  gain,  first  and  fore¬ 
most,  a  thorough  knowledge  as  to  how  a 
story  should  be  constructed. 

For  only  in  this  way,  I  think,  is  it  pos¬ 
sible  for  a  photodramatist  to  fully  under¬ 
stand  the  methods  of  not  only  plot-con¬ 
struction,  but  characterisation  and  atmo¬ 
sphere.  I  would  also  insist  that  he 
studied  the  form  of  the  short  story.  This 
branch  of  fiction-writing  is  more  closely 
related  to  the  photoplay  than  is  generally 
imagined.  For  both  forms  of  expression 
need  to  be  told  in  action,  and  to-  possess 
the  same  subtle  atmosphere  and  charac¬ 
terisation. 

The  would-be  successful  screen  drama¬ 
tist  of  to-day  cannot  do  better  than  study 
the  art  of  fiction  and  play-writing,  if  'he 
would  “  make  good  ”  as  a  writer  of 
original  stories.  Before  attempting  to  tell 
stories  himself,  is  it  not  only  reasonable 
to  expect  that  he  should  know  how  to 
tell  them?  In  order  to  gain  this  know¬ 
ledge.  he  should  read  fiction  largely.  Not 
only  that,  but  he  should  readl  every  book, 
and  see  every  play  with  a  critical  mind. 
He  should  educate  himself  to  determine 
why  this  or  that  book  proved  a  “  best 
seller  ” — or  one  of  great  recognition. 

Further,  he  should  bear  in  mind  that  in 
every  book  which  has  earned  universal 
approval,  there  is  something — often  hidden 
in  it— that  has  commanded  its  reward. 
It  may  be  in  the  narration,  the  characters, 
the  atmosphere,  the  general  treatment,  or 
the  idea  of  the  theme.  It  makes  no  dif¬ 
ference  which  of  these  it  happens  to  be — 
it  is  there!  The  young  scenarist  should 
be  able  to  find  it. 

Although  I  am  not  a  great  believer  in 
text-books  on  most  subjects,  yet  I  do  be¬ 
lieve  that  there  are  one  or  two  published 
on  the  novel,  the  short  story,  and  the 
drama,  that  might  prove  of  considerable 
assistance  to  the  ambitious  screen  play¬ 
wright.  Most  particularly  would  I  draw 
his  attention  to  that  very  excellent  trea¬ 
tise  of  the  modern  short  story  by  J.  Berg 
Essen wein.  This  is  a  wonderful  work, 
and  should  be  in  the  hands  of  every  aspir¬ 
ing  story  writer. 

At  the  risk  of  repeating  what  I  have 
said  in  some  of  my  articles  before,  I  ven¬ 
ture  once  again  to  say  that  those  indivi¬ 
duals  who  honestly  believe  that  they  have 
it  in  them  to  achieve  success  as  photo¬ 
dramatists — and  I  know  from  personal 
experience  there  are  a  great  number  who 
can  ! — learn  to  tell  your  story  first !  Don’t 
bother  vour  heads  too  much  about  con¬ 
tinuity  writing.  If  you  have  a  really  good 
and  original  story  told  in  a  thousand 
words,  believe  me,  it  stands  a  far  greater 
chance  of  production  than  the  most  per¬ 
fectly  constructed  continuity  with  a  thin 
story.  So,  for  a  beginning,  at  any  rate, 
read  and  study  fiction.  “  Get  ”  the 
methods  of  successful  writers,  and  remem¬ 
ber  that  even  if  “  the  stor)'  has  not  been 
the  thing  ”  in  the  past,  it  will  be  in  the 
future ! 


Maurice  Elvey  and  Isobel  Elsom 

Married 

Popular  Star  and  Famous  Producer  si&n  life  contract  in  Marylebone 


6 


January  20,  1923 


THE  MOTION  PICTURE  STUDIO 


Kinema  Club  News 


Catering  Control 

MEW  jmtering  arrangements  are  being 
nTade  at  the  club.  It  has  been  most 
gratifying  to  note  the  steady  improvement 
in  this  important  side  of  the  life  of  the 
club  since  it  was  decided  some  months  ado 

O 

to  place  it  under  the  direct  control  and 
management  of  club  members.  This  im¬ 
provement  has,  not  unnaturally,  been 
followed  by  a  considerable  increase  in 
receipts. 

I  he  thanks  of  the  club  are  due  to  Irene 
Ridgwell,  Betty  Farquhar  and  H.  Lisle 
Lucoque,  who  have  personallv  carried  on 
the  catering  department  during  the  past 
four  months.  To-day  (Saturday)  they  re¬ 
linquish  their  control  to  the  House  Com¬ 
mittee,  who  will  maintain  the  service 
without  interruption.  But  for  the  unselfish 
efforts  of  those  who  stepped  into  the  breach 
at  a  critical  time  it  is  highly  probable 
that  all  catering  would  have  been  for  the 
time  being  suspended,  with  serious  ad¬ 
verse  effect  on  the  social  amenities  of 
members. 

I  he  House  Committee,  through  its 
chaii man,  asks  us  to  state  that  criticisms 
and  suggestions  from  members  regarding 
catering  will  always  be  carefully  con¬ 
sidered,  and  should,  when  occasion  arises, 
be  made  through  the  manager  of  the  club, 
Major  Foyle. 

Kinema  Carnival,  Feb.  5 

Tickets  for  the  Carnival  are  being  brisklv 
circulated — and,  which  is  more  to  the 
point,  being  sold. 

W'e  cannot  too  strongly  repeat  that 
everyone— both  inside  the  busines  and  out¬ 
side  it  who  has  a  real  interest  in  and 
regard  for  British  film  production,  its 
achievements,  its  possibilities,  and  its 
many  brilliant  personalities,  should,  as  a 
matter  of  course,  be  present  at  the  Hotel 
Cecil  on  h  ebruary  5.  There  is,  however, 
no  need  to  urge  'a  sense  of  duty  as  a 
reason  for  attending.  I  he  entertainment 
and  social  value  of  the  function — which 
ranks  with  the  Three  Arts  and  Victory 
balls  as  one  of  the  events  of  the  London 
dance  season — is  its  strongest  appeal,  and 
it  is  incumbent,  not  only  upon  all  club 
members,  but  also  upon  everyone  engaged 
directly  or  indirectly  in  the  kinema  In¬ 
dustry  to  sell  as  many  tickets  as  possible. 

We  learn  that  an  added  attraction  at 
the  carnival  will  be  seen  in  the  shape  of 
Philip  Moss’  wonderful  fashion  parade 
of  the  latest  West  End  dress  models  by 
the  most  beautiful  mannequins  in  Lon¬ 
don.  This  is  the  famous  parade  which 
has  taken  Murray’s  Club  by  storm  dur¬ 
ing  the  last  feW  weeks.  Billie  Bristow 
has  arranged  for  this  beautiful  display  of 


frocks  and  femininny  to  take  place  after 
midnight. 

Posters  and  handbills — which,  to  save 
unnecessary  advertising  expense,  members 
end  others  are  earnestly  asked  to  assist 
in  getting  publicly  displayed — can  be  ob¬ 
tained  from  Major  Foyle  at  the  club,  or 
from  Billie  Bristow,  hon.  organiser,  175, 
Wardour  Street,  W.i.  Tickets,  price  25s., 
may  be  obtained  from  the  club  hall  porter, 
Miss  Bristow,  and  members  of  the  Enter¬ 
tainments  C  o  m  m  i  t  tee . 

Annual  General  Meeting  and 
Concert 

The  usual  dance  takes  place  to-night 
(Saturday),  and  on  Sunday  the  first  annual 
general  meeting  of  the  club,  is  to  be  held 
at  3  p.m.  in  the  club,  9  Great  Newport 
Street.  All  members  should  in  their  own 
interest  attend. 

Proposed  Amendments. 

The  following  amendments  to  the  rules 
will  be  decided,  in  addition  to  the  elec¬ 
tion  of  officers  for  the  coming  year. 

Rule  3.  ELIGIBILITY  FOR  MEM¬ 
BERSHIP. 

Add  : — (f)  Ladies  and  gentlemen  not 
coming  within  any  of  the  above  qualifica¬ 
tions  Who  have  rendered  services  to  the 
club  or  whose  membership  of  the  club 
is  considered  by  the  council  likelv  to  be 
of  advantage  to  the  club.  Any  member 


LISTENING  IN 

TTtT'E  hear  that  a  wireless  set  is  being 
"  "  installed  in  the  Kinema  Club  in  the 
near  future.  It  is  unlikely  that  a  high-power 
transmitting  set  will  be  provided,  which  is 
rather  a  shame.  Shordd  it  ever  t  ventuate, 
however,  we  may  anticipate  listeners  all 
over  the  world  being  greatly  puzzled  by  hear¬ 
ing  odd  scraps  of  conversation  such  as  the 
following  (with  atmospheric  interruptions)  : 

“Couldn’t  get  to  the  Trade  show,  old 
man.  Did  my  little  bit  come  out  all  right0  ” 

“Yes;  right  out  .  .  .” 

Bzzzkbzzzzkp. 

“  Is  he  a  financier,  or  has  he  got  money 
of  his  own?  ...” 

K-k-k-k-k-brzzzp. 

“  .  .  .  I  told  him  that  I  wasn’t  going  to 
work  all  night  for  fifteen  bob  a  day,  and 
then  get  nothing  for  it  except  pleurisy  .  .  .” 
Bbbb-pzzzkzp. 

“  I  tell  you  things  are  going  from  bad  to 
worse.  I  haven’t  done  a  day’s  work  since 
October.”  .  .  . 

Zzzz-wheeeee-ee. 

“  Mark  my  words,  this  year  will  be  a 
boom  year  for  British  pictures.  I’ve  just 
done  five  weeks  abroad,  and  fixed  up  again 
this  morning  to  start  at  once.”  .  .  . 

K-k-bzzz-p-p-pzzk. 

“  I  met  a  producer  this  morning  with  a 
cast  in  his  eye.  Is  that  lucky?  ”... 

B-b-b-b-prrrck-k. 

“  Play  me  snooker.  I’ve  got  the  next 

table  but  seven.” 

Pk-k-zzzp. 

“  Can  I  sell  you  a  ticket  for  the  Kinema 
Club  Carniv - ” 

G-r-r-r-r-rh. 


of  the  club  may  suggest  to  the  council 
names  of  suitable  persons  for  election 
under  this  clause. 

Add  to  Ride  5  : — i(c)  Proposed  members 
under  Rule  3  (3)  shall  not  be  subject  to 
Rule  (5),  (a)  ana  (0),  but  such  ladies  and 
gentlemen  must  be  proposed  by  a  member 
ot  the  council  and  seconded  by  two  mem¬ 
bers  of  the  council  at  one  meeting  of  the 
council,  ana  the  election  itself  shall  take 
place  at  the  next  or  later  meeting  of  the 
council,  the  election  shall  be  by  show 
of  hands  and  must  be  unanimous,  if 
elected,  and  such  member  is  .willing  to 
take  up  membership,  he  shall  have  all 
the  rights,  privileges  and  duties  ot  an 
ordinary  member,  and  shall  pay  the  sub¬ 
scription  then  current  ot  an  (mummy 
member. 

The  first  anniversary  of  the  club  will 
be  fittingly  celebrated  after  the  meeting 
to-morrow  (Sunday)  evening,  by  an  old- 
time  toncerL,  at  which  some  attractive 
“  turns,”  including  Arthur  Roberts,  Tom 
Costello,  Thornley  Dodge  and  Harry 
Dearth  have  promised  very  kindly  to  as¬ 
sist.  The  ever  genial  Sydney  Paxton  will 
act  as  chairman. 

Coming  Billiard  Match 

The  Billiards  Committee  announce  that 
on  Frida)',  January  26,  the  new  billiard 
table,  recently  subscribed  for  so  generously 
by  members  vand  good  .friends  of  the 
club,  will  be  formally  handed  over  to 
the  council  at  seven  o’clock.  There  will 
follow  a  match  between  the  well-known 
professional  W.  Cook,  and  J.  J.  Ashley, 
Who  receives  200  in  600.  Mr.  Cook  has 
promised  also  to  give  an  exhibition  of 
fancy  strokes  afterwards.  Ladies  are 
specially  invited. 

Four  prizes  are  wanted  for  a  “  Mum 
living  tournament  to  be  held  on  the  fol¬ 
lowing  Sunday,  January  28.  A  similar 
event  was  very  popular  last  season.  The 
entrance  fee  is  sixpence,  open  to  ladies 
as  well  as  gentlemen.  Ladies  play  5  up 
and  gentlemen  10  up!  But  there  are 
conditions  which  impose  a  severe  tem¬ 
peramental  strain.  Marking  and  fetching 
the  rest  must  be  done  by  the  players ; 
and  speaking  during  the  game,  allowing 
the  cue-butt  to  touch  the  floor,  and  in¬ 
correct  marking  instantly  disqualify  ! 

New  Members 

The  following  new  members  were 
passed  by  the  Executive  Council  on  Tues¬ 
day  last  : 

Harry  Ainsworth. 

Nichol  Dean. 

Margaret  Yarde. 

Slvvia  Caine. 

Dezma  dus  May. 

Cutnbert  Lvons  Buckle. 

Diana  Caird. 

Harold  French- 

They  were  all  declared  elected.  A 
steady  flow  of  new  nominations  is  also 
an  encouraging  and  heartening  sign  of 
prosperity  for  the  club  in  1923,  and  we 
hear  whispers  that  at  the  annual  general 
meeting  some  most  reassuring  informa¬ 
tion  will  be  given  out. 


7 


THE  MOTION  PICTURE  STUDIO 


January  20,  1923 


All  My  Eye — and  Betty  Balfour 


George  Pearson  at  work  on  “  Tip-toes 


FX  no  studio  could  there  ever  be  such  a 
hush  as  there  is  at  Craven  Park, 
N.YV.10.  One  enters  it — one  needn’t,  but 
I  did — through  a  sort  of  East  Indian 
jungle  of  timber  and  odds  and  ends  of 
scenery  and  furniture,  and  coining  on  to 
the  floor,  watches  George  Pearson  direct¬ 
ing  Betty  Balfour.  But  at  first  it  is 
impossible  to  realise  that  that  is  what  one 
is  watching. 

In  the  first  place,  George  Pearson  is 
not  in  the  least  like  a  producer.  A  quiet, 
unobtrusive  man  of  meek  and  almost 
apologetic  aspect,  with  a  soft  voice,  no 
megaphone  or  horn-rimmed  spectacles, 
actuallv  fully  and  soberlv  dressed-  it  shat¬ 
ters  all  conventional  visualisations  of  a 
director  of  motion  pictures.  How  is  this? 
How  dare  George  Pearson  mix  with  his 
fellow-men,  who,  misled  by  his  appear¬ 
ance,  might  at  any  moment  talk  about 
films  with  the  freedom  that  comes  from 
the  absence  of  anyone  connected  with  the 
industry?  How  can  he  possibly  be  re¬ 
garded  by  those  of  his-  own  trade  (or  art) 
as  a  brother?  Is  it  really  “cricket”? 

The  reason,  of  course,  is  simple.  It 
is  essential  that  many  “producers’*  shall 
have  the  appearance  of  producers,  because 
they  are  not.  There  is  not  the  least  need 
for  Pearson  to  look  as  though  he  were  a 
producer — because  he  is. 

All  this,  however,  did  not  dawn  on  me 
(as  it  has  no  doubt  dawned  on  you)  at 
once.  It  took  lime.  It  was,  as  I  say, 
impossible  to  appreciate  the  fact  that 


scenes  were  being  shot.  There  was  a 
humble  garret  “set” — the  sort  of  “set’’ 
that  makes  some  people  furious  because 
Britishers  don’t  spend  ten  times  as  much 
on  their  pictures,  but  which,  at  the  same 
time,  was  as  expensive  and  as  creative 
as  a  studio  mansion  interior.  There  were 
Cooper-Hewitts  and  other  lights  illumin¬ 
ating  it.  There  was  Bettv  Balfour 
standing  about  in  the  middle  of  it,  chat- 
ling  quietly  to  George  Pearson,  who 
seemed  to  loiter  pensively  and  then  sit 
down,  at  intervals,  on  a  camp-stool. 
There  was  a  sense  of  peace,  decorum  and 
mild  interest.  It  suggested  to  me  a  visit 
to  a  museum  or  an  art  gallerv,  with  Betty 
looking  at  things  and  Pearson  sitting 
down  occasionally  to  get  a  better  view  of 
something.  Percy  Strong  at  his  camera 
was  part  of  it.  There  was  not  half  the 
excitement  you  get  while  shaving.  Not 
that  I  wanted  it 

Presently,  I  perceived  method.  Pear¬ 
son.  with  cat-like  tread,  would  illustrate 
something  to  the  blonde  little  dancing-girl 
come  home  to  her  humble  abode,  and  on 
resuming  his  camp-stool,  would  signal  a 
little  and  the  camera  would  purr  very 
softly  for  a  few  seconds.  Then  the  whole 
thing  began,  with  variations,  over  again. 
Evidently  a  purpose  in  all  this 

The  restful  effect  was  heightened  by 
mus'C  from  a  giamophone,  which  lulled 
everybody,  including  Eeslie  Hiscott,  into 
quietness  of  movement  and  something  like 
churchiness.  Not  drowsiness,  but  just 


’’—  and  tip-toes 

quiet,  respectful  attention.  Pearson 
talked  now  and  again,  but  we  couldn’t 
hear.  Personally,  i  believe  he  does  a  lot 
by  the  power  of  his  eye — a  sort  of  hyp¬ 
notism,  perhaps.  I  don’t  know. 

Presently  we  had  tea,  and  I  soon 
realised  that  what  some  other  directors 
behave  like  a  mad  bull  over,  only  makes 
George  Pearson  more  patient.  Two 
minutes’  conversation  showed  me  that  I 
had  been  privileged  to  watch  the  most 
sincere  among  British  picture-makers— 
and  the  most  unassuming. 

I  explained  to  Miss  Balfour  that  I  had 
not  met  her  since  she  was  twelve  years 
old,  and  that  on  that  last  occasion  I  had 
kissed  her.  1  was  very  surprised  to-  find 
she  remembered  me.  She  is  very  full  of 
her  part  which  is  that  of  a  little  music-hall 
artiste  who  “makes  good.”  Mr.  Pearson 
was  very  properly  reticent  about  the  story, 
but  if  we  are  likely  to  see  anything  re¬ 
sembling  the  wonderfully-caught  vaudeville 
and  Brixton  atmosphere  of  “Nothing 
Else  Matters,”  then  the  Trade  Show  of 
“Tip-toes  ”  will  see  me  arriving  with  the 
first  dead-heads. 

Harry  Maude,  whom  I  met,  is  a  gentle¬ 
man  of  double  identity,  who  exhibits  his 
paintings  in  the  leading*  London  exhibi¬ 
tions,  concurrently  with  playing  opposite 
Betty  Balfour;  and  the  other  members  of 
the  cast  include  A.  Harding  Steer  man, 
Gerald  Ames,  Sydney  Fairbrother,  Annie 
Esmond,  Nancy  Price,  Irene  Norman  and 
Frank  Stanmore. 


8 


January  20,  1923 


rHE  MOTION  PICTURE  STUDIO 


Willie  Davies  —  Modernist 

An  appreciation  of  the  well-known  Art  and 
Pageantry  expert  whose  theory  of  the  use  of 
colour  instead  of  lighting  is  worthy  of  attention 

by  ROY  HARDY 


WITH  the  advantage  of  years  of  experi- 

*  ’  ence  in  pageantry,  Mr.  Willie  Davies 
has  also  been  responsible  for  the  art 
direction  of  many  notable  successes  in 
the  kinema  world,  and  his  practical,  if 
not  unique,  experience  in  colour-schemes 
and  all  forms  of  art  decorations  in 
period  styles  or  modern  manners  is 
adequately  shown  in  such  recent  kinema 
successes  as  “  Carnival  ’  ’  (which  for  its 
scenic  beauty  created  something  of  a  ,stir), 

The  Bohemian  Girl,”  “Love  in  a  Whirl¬ 
wind,”  and  many  other  notable  productions. 

Mr.  Davies’  reputation  as  a  creator  and 
director  of  many  famous  pageants,  notably 
the  Chepstow  Castle  and  the  Kinematograph 
Peace  Pageant  and  Costume  Ball,  the  great 
knowledge  he  displayed  as  a  historian  and 
antiquary,  have  unfortunately  rather  ob¬ 
scured  the  fact  that  he  is  in  reality  essentially 
a  modernist  in  idea  and  expression,  and 
«ome  of  his.  best  work  has  undoubtedly  been 
1-n  the  sphere  of  modern  manners. 

A  visit  to  Mr.  Davies’  own  charming  flat 
in  Kensington  would  alone  suffice  to  empha¬ 
sise  this  point.  The  remarkable  and  alto¬ 
gether  delightful  drawing-room  of  this  flat 
was  recently  described  in  detail  in  “  The 
Furnishing  Trades  Organiser,”  and,  with 
due  acknowledgments,  we  quote  some  extracts 
from  the  article. 

The  writer  says  that  Mr.  Davies  has  de¬ 
liberately  used  coloured  textiles  as  a  painter 
would  use  the  pigments  on  his  palette.  His 
theory  is  that  every  room  should  be  de¬ 
pendent  for  its  effect  upon  one  dominant 
colour.  In  this  instance  it  is  the  heliotrope 
ceiling  framed  in  a  cornice  of  gold.  This 
is  followed  up  by  the  contrasting  frieze  of 
dull  black  with  Byzantine  design  in  gold, 
which  is  also  seen  on  the  side  fireplace 
panels. 

Purple  Silks. 

A  soft  tone  of  orange,  skirted  by  helio¬ 
trope,  forms  the  only  wall  decoration,  except 
for  the  draperies  of  the  windows,  which  are 
composed  of  black  velvet  in  centre  and  at  both 
ends,  whilst  falling  in  rotation  from  the 
centre  hang  strips  of  purple  and-  orange 
silks.  The  white  statuette  creates  a  clear 
outstanding  line  on  its  black  pedestal.  The 
highly  polished  floor  of  black  has  a  plain 
soft-purple  carpet  over  it,  and  the  door  also 
is  of  black  with  gold  panels. 

The  prominent  and  inviting  centre  divan 
is  tightly  draped  with  purple  silk,  over 
which,  in  striking  contrast,  lies  an  oblong 
cushion  of  old  rose  brocade,  braided  and 
tasselled  in  gold  ;  the  remaining  circular 
bolster  cushion  being  of  purple  velvet,  with 
centre  of  orange  silk  with  gold  trimmings. 


A  pearl  and  pink-shaded  lamp  is  over  the 
centre. 

Suggested  by  the  East. 

The  divan  in  the  centre  corner  provides 
the  necessary  splash  of  Eastern  colour,  the 
most  pronounced  being  jade  green  and  pink, 
with  black  and  gold  to  tone  against  the 
Turkish  drapery  on  the  wall  behind.  Lying 


We  Dare  Not 
Print — 

Sir  Walter  de  Frece's  recently  expressed 
opinion  in  writing  of'  film  company  promo¬ 
ting. 

The  name  of  the  Kinema  Selection  Com¬ 
mitteeman  who  thought  the  balloting-beans 
were  sweets. 


Challis  Sanderson’s  remarks  on  finding  the 
club  bar  doorway  too  low. 


Some  of  the  sentiments  expressed  at  Aider- 
shot  in  the  wet. 

Cameron  Carr’s  German  diary. 

The  truth  about  Malcolm  Tod’s  Austra¬ 
lian  bank-notes. 

The  name  of  the  agent  with  the  uncom¬ 
fortable  waiting-room. 

George  Pearson’s  outlook  on  the  future. 

Our  ’■eal  opinion  of  film  “  prologues.” 

Most  producers’  opinions  of  other  pro¬ 
ducers’  pictures. 


Any  cameraman’s  views  on  the  past  week’s 
weather. 


The  nice  things  about  the  Press  in  a 
recent  speech  by  Edwin  Godal. 


What  we  really  think  of  Jimmy  Knight. 


George  Foley’s  refusal  to  fall  backwards 
off  a  roof. 


Willie  Davies 

between  the  two  divans  are  other  necessary 
adjuncts  to  an  apartment  having  an  Eastern 
flavour;  the  serving  tray,  incense  cupola, 
and  bowls  of  brass,  whilst  a  delicately  shaded 
standard  lamp  of  brass  completes  the  corner, 
except  for  the  fern  in  a  bowl  of  orange 
china  resting  on  a  low  pedestal,  draped  in 
cerise  and  orange  satin. 

The  foregoing  will  give  proofs  of  Mr. 
Davies’  modernity  in  idea,  if  such  be 
needed.  The  essential  virtue  nowadays  is 
specialisation,  whilst  the  cardinal  sin  would 
seem  to  be  versatility.  It  is  so  difficult 
to  live  down  any  kind  of  reputation,  earned 
or  acquired,  and  it  is  often  fatal  to  attempt 
to  practise,  and  be  accepted,  along  any  new 
and  unfamiliar  lines. 

Mr.  Davies  has  some  rather  wonderful 
photographs  of  his  studio,  taken  with  ordi¬ 
nary  Osrarn  lamp's,  and  these  heavily  shaded. 
The  detail  is  most  remarkable,  and  even 
the  mauves  are  not  lost,  but  stand  out  clearly 
and  distinctly  from  the  blacks.  Y\  ith  all  the 
colours  described  above,  the  remaining  im¬ 
pression  is  of  something  silent,  warm,  and 
harmonious.  It  is  by  this  blending,  claims 
Mr.  Davies,  that  excellent  photographic 
effects  are  to  be  obtained  with  a  minimum 
of  lighting. 

Now  Mr.  Davies  talks  of  going  to  America, 
but  it  will  be  a  thousand  pities  if  he  is 
allowed  to  do  so.  It  would  be  gratifying 
to  hear  of  his  engagement  in  connection  with 
the  production  of  a  wonderful  film  and 
pageant  that  would  give  adequate  scope  for 
the  exercise  of  all  his  rare  abilities. 


9 


THE  .MOTION  PICTURE  STUDIO 


January  20,  1923 


The  Scenarists’  Bureau 


JJHE  MOTION  PICTURE  STUDIO 
has  decided  to  discontinue  the  criticisrr 
of  submitted  scenarios  for  the  time  being 
ITiose  under  consideration  will,  of 
course,  be  duly  dealt  with  in  the  same 
spirit  as  heretofore,  but  after  they  are 
disposed  <T  the  critic’s  function  for  the 
present  will  cease.  We  therefore  will  be 
glad  if  readers  contemplating  forwarding 
.scripts  will  refrain  from  doing  so  until 
further  notice. 

It  is  proposed  instead  to  deal  with  the 
whole  question  of  British  hlm-plav  re¬ 
quirements'  from  the  other  end — the  point 
of  view  of  those  who  want  them  rather 
than  that  of  those  who  seek  to  dispose  of 
them.  We  are  convinced  that  bv  this 
means  we  are  doing  a  better  service  both 
to  the  Industry  and  to  all  film  authors. 
There  will  be  no  campaign  or  “stunt,” 
but  our  outlook  and  policy  will  be  from 
time  to  time  expressed.  Criticism  is 
really  the  business  of  those  firms  which 
profess  to  seek  story  material,  rather  than 
our  own  concern  ;  and  we  are  now  in  a 
special  position  to  obtain  really  authorita¬ 
tive  pronouncements  from  the  leading  pro¬ 
ducing  organisation  which  should  be  of 
real  use  to  all  who  have  already  been  so 
interested  in  our  efforts  on  behalf  of  better 
stories. 

M.  C.  and  G.  C.  (Herne  Hill). — This  is 
a  wonderful  story,  but  the  scenarists  do  not 
think  it  is  suitable  for  the  English  or 
American  markets.  It  is  too  passionate,  and 
the  turgid,  violent,  colourful  nature  ot 
Catherine’s  love  affairs  are  not  at  all  the 
kind  of  thing  that  the  ordinary  film  firm 
seems  to  be  looking  for.  The  amount  of 
colour  and  movement  and  atmosphere  you 
have  got  into  the  short  synopsis  is  remark¬ 
able,  but  it  is,  of  course,  so  Continental  in 
feeling  that  the  critics  cannot  help  feeling 


JRENE  NORMAN,  Gerald  Ames,  A. 

Harding  Steerman,  Harry  Maude, 
Nancy  Price,  Annie  Esmond,  Sydney 
Fairbrother,  and  Frank  Stanmore  are  in 
the  cast  supporting  Betty  Balfour  in 
“  I  ip-Toes  ”  (Welsh-Pearso-n). 

I 

I 

Jack  Dorrington,  who  has  been  very 
busy  in  varied  ways  in  “A  Royal 
Divorce,”  for  Samuelson,  wishes  it  known 
that  he  did  not  impersonate  the  Duke  of 
Wellington  at  Waterloo,  in  the  battle 
scenes  at  Aldershot. 

M.  Gray-Murray,  who  has  just  finished 
playing  the  Archbishop  in  “  bSimonne 
Everard,”  for  the  IT  and  C.,  is  to  play 
•Colonel  Penn  in  “  Curfew  Shall  Not 
Ring  lo-night,”  for  Edwin  Greenwood, 
in  the  further  series  of  two-reelers. 

Edward  D.  Roberts  has  signed  on  to 
produce  a  further  number  of  comedies  for 
Albert-Phillips  Film  Productions  before 
commencing  wtork  for  Roberts-Crew  Art 
Productions  in  March.  Fattv  Phillips 
has  been  definitely  engaged  to  play  in  one 
of  this  series. 

Rupert  and  Frank  Crew  are  the  authors 
of  the  new  two-ree!  corned v,  “  Scraps 
and  Scrapes,”  which  Edward  D.  Roberts 
will  direct  for  Albert-Phillips. 


that  it  might  be  very  acceptable  to  an 
Italian  (Cines),  French,  or  even  German 
firm.  The  addresses  of  such  firms  could  be 
obtained  from  the  Kinema  Year  Boon 
( O'dhams  Press).  We  would  suggest  that 
the  authors  might  begin  by  offering  it  to 
fines.  In  spate  of  the  unsuitability  to  ordi¬ 
nary  markets,  the  critics  would’  like  to 
warmly  congratulate  the  authors  on  having- 
produced  a  very  remarkably  clever  synopsis. 

E.  H.  B.  Ticehurst. — The  opening  of  this 
play  is  far  too  miserable.  A  scenario 
editor  would  be  unlikely  to  read  more  than 
the  first  few  lines  of  this  precis  on  account, 
of  its  squalid  nature  and  unremitting 
Goom.  The  story  afterwards  bristles  with 
improbabilities.  The  sick  and  dying 
mother  who  writes  a  letter  and  dies  a  few 
minutes  afterwards,  and  the  deaths  of  the 
iwo  mothers  within  a  few  minutes  of  each 
other,  are  two  cases  in  point.  This  is  the 
sort  of  story  that  used  to  find  a  market  on 
the  screen  in  the  early  days  of  film  work, 
but  now  no  longer  does  so.  Stories  for  the 
screen  now  have  to  approximate  _far  more 
closely  to  real  life,  and  should  contain  far 
more  natural  incidents.  There  is  no  reaaoi, 
whatever  from  the  sample  you  have  sub¬ 
mitted  you  should  not  be  able  from  the 
above  hints  to  construct  a  story  suitable 
for  the  screen  now  that  you  know  what 
they  want.  Send  in  something  else,  and 
next  time  call  your  precis  a  synopsis,  and 
write  a  little  more  fully — more  like  a  short 
story,  but  with  the  action  emphasised.  Give 
your  play  a  title — an  important  factor,  ami 
your  character  names.  Above  all,  remember, 
write  up  to-  the  films — not  down  to  them. 
Film  editors  want  the  best  stories  they  can 
get,  and  they  are  prepared  to  pay  for  them. 

D.  S.  P.  (The  Grove). — A  good  story  this. 
It  should  work  up  into  an  excellent  five-reel 
subject.  It  might  be  suitable  for  Henrv 
Edwards  of  Hepworth’s,  the  Ideal,  or 
blaster’s.  The  only  suggestion  we  have  to 
offer  on  the  plot  (which  is  obviously  the 
work  of  a  professional  writer)  is  that  there 
is  so  much  in  the  story  that  the  night  club 


Where 

They  Are — and 
What  .  .  .  . 

They  Are  Doing 

Bert  Dariev,  Reginald  Fox,  Fred  Rayn- 
ham,  Charles  Barrett  and  Ray  Raymond 
are  among  the  principals  in  “  The  Gloria 
Scott,”  the  two-reel  Sherlock  Holmes  sub¬ 
ject  now  being  completed  for  Stoll’s  by 
George  Ridgwell. 

Geoffrey  Malins  has  written  many  of 
the  scenarios  for  George  Ridgwell’s  series 
of  twTo-reel  “  Sherlock  Holmes  ”  subjects 
(Stoll),  and  P.  L.  Mannock  is  also  respon¬ 
sible  for  several  of  them. 

Charles  Vane,  Knighton  Small,  Lilian 
Braithwaite.  Kate  Gurney,  and  Ruhama 
Catton  are  appearing  in  the  Campbell 
Gullan  production  at  Clapham. 

Peggy  Carlisle  has  been  playing  at  Hove 
for  Lieut.  Daring. 


scenes  could  be  eliminated,  saving  a  good 
deal  of  the  expense,  and  not  interfering  at 
all  with  the  plot.  It  lends  itself  to  beauti¬ 
ful  scenery,  few  interiors  and  a  short  cast, 
all  of  which  are  assets  in  its  favour  to  the 
mind  of  the  producer  who  is  considering 
buying  a  play.  We  .should  like  to  add  that 
we  are  sorry  for  the  delay  in  publishing  the 
criticism,  but  such  a  number  of  MSS.  have 
been  sent  in  that  it  has  been  difficult  to 
deal  with  them  adequately. 

G -  Hearts,  by  Laughs  and  Tears. — In 

the  first  place  when  submitting  any  stories 
for  criticism  or  to  film  companies  for  sale, 
they  must  have  a  synopsis  of  the  story. 
Otherwise  there  is  a  strong  chance  that  they 
will  not  get  read  at  all.  The  three  scenarios 
that  you  have  submitted  so  far  to  the 
Bureau  have  been  big  MSS.  very  carefully 
worked  out,  but  to  understand  the  story 
when  no  synopsis  accompanies  them  we 
have  had  to  read  through  the  whole  of  the 
MSS.,  and  without  interruption,  to  know 
enough  about  the  story  to  give  you  a  fair 
criticism.  This  is  a  big  undertaking,  and 
though  we  have  done  it,  it  is  quite  certain 
that  a  scenario  editor  would  not  have  either 
the  time  or  the  patience  to  do  so;  while,  it 
there  was  a  synopsis  attached,  one  coulrt 
read  that  first,  and  afterwards  refer  to  the 
scenario  to  see  how  you  had  worked  out  the 
story.  This  story  is  more  fiction  than  real 

life,  and  it  doesn’t  strike  the  note  of  real 

life  that  your  previous  work  did.  Some  of 
it  is,  of  course,  possible — some  of  it  wildly 
improbable,  and  there  is  not  enough  action 
in  the  scenes  with  Mr.  Condor.  The 
night  club  scenes  where  the  heroine  is 
lured,  would  not  be  passed  either  by  a  film 

company  or  by  the  Censor,  and  the  same 

applies  to  one  of  your  sub-titles.  Your 
patience  in  constructing  the  scenario  would 
have  been,  it  seems  to  us,  better  spent  on 
such  a  story  as  the  last  one  we  criticised  of 
yours.  We  are  sorry  we  cannot  say  as 
much  for  this  as  for  your  previous  one,  but 
we  do  not  consider  this  story  saleable  as 
it  stands. 


Jack  Hobbs  is  playing  Clement  Hale  in 
“Sweet  Lavender”  at  the  Ambassadors 
Theatre. 

Joan  Morgan  is  plat  ing  lead  for  the  B. 
and  C.  in  Edwin  Greenwood’s  two-reel 
production  “  Curfew  Shall  Not  Ring  To¬ 
night.” 

Hugh  Higson  has  been  playing  in  “  A 
Royal  Divorce,”  at  Isleworth. 

Henry  Edwards  is  supported  in  “  Li  I  v 
of  the  Alley  ”  (Hepworth)  bv  Campbell 
Gullan,  Lionel  D’Aragon  and  Frank 
Stanmore. 

Henrv  Edwards,  Chrissie  White, 
Gvvynne  Herbert  and  Henrv  Vibart  appear 
in  Edwards’  production  of  E.  Temple 
Thurston’s  “  World  of  Wonderful 
Reality  ”  (Hepworth). 

“  The  Hypocrites,”  the  Granger-Binger 
picturisation  of  Henry  Arthur  Jones’  well 
known  play,  shortly  to  be  Trade  shown, 
was  produced  by  Charles  Giblin. 

Norman  Page  is  playing  Jonathan  Small 
in  Maurice  Elvev’s  “  The  Sign  of 
Four  ’  (Stoll). 


10 


January  20,  1923 


THE  MOTION  PICTURE  STUDIO 


No  Faultless  Face  Exists 

Penrhyn  Stanlaws’  Dictum - Is  it  a  Grievance  against 

“  Feature  ”  Films? 


TJENRHYN  STANLAWS  was  the  Scot¬ 
tish  black-and-white  artist  of  Ameri¬ 
can  adoption  whose  quaint  frilly  femininity 
fascinated  us  in  the  pages  of  Life  and 
elsewhere  in  the  heyday  of  C.  D.  Gibson. 
He  has  since  turned  motion  picture 
difeccor,  and  has  a  good  record  of  sound 
pictures  to  his  credit,  but  his  latest  claim 
on  the  attention  of  this  planet  is  a  candid 
burst  of  hard  brutal  truth  about  the  im¬ 
perfections  of  the  faces  belonging  to-  the 
great  ladies  of  the  screen.  Among  other 
things,  he  comes  to  definite  and  formu¬ 
lated  charges  like  the  following  : — 

The  Gish  sisters  have  imperfect  noses, 
and  their  lips  are  too  large. 

Norma  Talmadge  has  a  “  bulbous  ” 
nose, 

Nazimova’s  eyes  are  too'  small  for  her 
face,  and  her  head  is  too  big. 

Mary  Pickford  shares  the  common 
blemish  of  having  too  big  a  head. 

Pola  Negri’s  face  is  too  square. 

Shirlev  Mason’s  faults  are  deep-set  eyes 
and  “  horse  nostrils.” 

Bebe  Daniels’  figure  is  good,  but  she 
keeps  her  mouth  open  too  much. 

Gloria  Swanson’s  head  is  too  heavy  for 
her  body.  Her  nose  is  retrousse. 

Marie  Prevost’s  neck  is  too  short,  and 
her  figure  is  slightly  heavy. 

Constance  Talmadge  has  an  inadequate 
mouth  and  chin. 

Viola  Dana  has  .a  big  nose,  too  heavy 
at  the  end.  Jawbones  are  too  wide  and 
chin  too  prominent. 

Mary  Miles  Minter  is  too  matronly. 

This  is  a  frightful  arraignment,  and  we 
are  entitled,  we  think,  to  console  ourselves 
that  Stanlaws  dwells  on  the  other  side 
of  the  Atlantic.  It  would  be  awful  if  he 
began  to  .dissect  the  features  of  British 
screen  beauties. 

If  he  is  really  in  earnest  about  this,  it 
opens  up  a  wider  idealism  in  picture  pro¬ 
duction  than  we  had  ever  foreseen ;  an 
idealism  of  the  human  countenance 
fraught  with  dangerous  possibilities. 
First  of  all,  it  presupposes  that  a 
standard  of  beauty  can  be  formulated  and 
worked  out  on  squared  paper — a  standard 
based  entirely  upon  mathematics.  Artists 
will  agree  (as,  of  course,  they  invariably 
do)  on  a  supreme  type  of  beauty,  and  a 
lay  figure  and  face  will,  under  a  Ministry 
of  Arts,  be  publicly  exhibited  as  official 
perfection,  in  much  the  same  way  as  the 
standard  yard  measure  is  exhibited  to-day. 
We  can  faintly  picture  the  boon  to  man¬ 
kind  which  this  would  undoubtedly  prove. 
The  young  man  would  take  secret 
measurements  of  his  adored  one’s  fea¬ 
tures  with  callipers  and  tape-measure. 
Hurrying  to  South  Kensington,  he  would 
find  to  his  bitter  anguish  that  Phyllis’ 
nose  showed  10  per  cent,  deviation,  and 
that  fier  ears  were  very  far  from  being  a 
pair.  A  death  pact  would  be  the  only 
way  out. 


The  theatrical  manager  engaging  a 
beauty  chorus  would  find  that  a  sliding 
scale  of  deviation  from  standard  beauty 
v\'ould  aid  him  in  deciding  whether  his 
girls  should  go  in  the  first,  second,  01 
back  rows.  Critical  visitors  to  the 
National  Portrait  Gallery  would  be  armed 
with  micrometers :  and.  most  important 
of  all,  film  agents’  offices  would  be  plas¬ 
tered  with  portraits  of  his  fair  clients  with 
certificates  appended  vouching  for  their 
close  approximation  to  the  official  lay 
figure. 

All  arguments  regarding  the  respective 
charms  of  this  or  that  screen  beauty 
would  be  ended.  Trigonometry  would  be 
a  part  of  studio  curriculum  and  the  final 
arbiter  of  all  publicity  concerning  the 
vvforld’s  stars.  Gradually  the  non-con¬ 
forming  types  of  beauty  would  be  elim- 


“  The  Hypocrites” 

The  Granger-Binger  version  of  the  famous 
play  by  Henry  Arthur  Jones  of  the  .above 
title  is  nearly  ready  for  Trade  showing,  and 
Arthur  Backner  is  anticipating  a  mild  sensa¬ 
tion.  It  is  the  most  ambitious  of  all  the 
pictures  made  under  these  .auspices,  and,  as 


our  readers  already  know,  features  Wyndham 
Standing.  The  strong  supporting  cast 
includes  Sydney  Paxton,  Harold  French, 
Bertie  White,  Roy  Travers,  Lillian  Douglas, 
Gertrude  Sterroll  .and  Mary  Odette.  Charles 
Giblin,  an  American,  is  responsible  for  the 
direction. 


inated,  and  a  common  level  of  perfection 
would  take  its  place.  Names  like  Gish, 
Talmadge,  Pickford,  Prevost  and  Dean 
would  convey  nothing,  as  under  a  really 
officially-controlled  standard  the  faces  of 
all  would  be  practically  indistinguishable, 
thus  saving  endless  trouble-  There  will, 
no  doubt,  be  some  dissatisfied  people 
who  will  prefer  the  present  state  of 
variety  and  confusion.  They  will  assert 
that  individuality  is  so  much  a  part  of 
beautv  that  an  occasional  lapse  from  the 
classic  model  is  sometimes  excusable  and 
even  attractive;  they  wfill  continue  in  this 
strain  ■ — 

“  Is  tlie  face  beautiful  simply  because 
of  its  proportions  or  because  of  signifi¬ 
cance  which  these  proportions  may  pos¬ 
sess  ?  Does  one  look  across  the  break¬ 
fast  table  thrilled  that  one  faces  a  face  in 
which  there  is  nothing  out  of  drawing,  a 
face  whereon  the  nose  is  equidistant  from 
brow  or  chin — chin  or  brow,  the  sort  of 
face  that  is  so  balanced  it  looks  as  well 
upside  down  as  any  other  way,  or  does  one 
thrill  because  one  faces  indelible  evidences 
of  certain  traits  and  characteristics  to 
which  one  has  become  addicted? 

“  Can  it  be  said  a  perfectly  propor¬ 
tioned  face,  like  a  well-balanced  body,  is 
a  more  perfect,  instrument  for  the  express 
si  on  of  such  thoughts  as  might,  per¬ 
chance,  lie  within?  Is  each  feature  but  a 
physiological  instrument?  Is  the  true 
ideal  the  assembly  of  the  right  number  of 
perfect  parts  and  will  this  assemblage 
serve  more  perfectly  to  reflect  ideas  ? 

“Is  there  a  standard  of  perfection  to 
which  all  personalities  should  conform? 
If  so,  why  have  any  individuality  at  aH. 
Standardisation  in  some  lines  may  be  a 
blessing.  For  instance,  it  helps  to  make 
cheap  cars  cheaper.  But  is  it  not  enough 
to  have  to-  divert  one’s  gaze  from  millions 
of  flivvers  without  so  standardising  the 
face  that  one  would  have  to  do  the 
same  ? 

“  Fancy  living  in  a  nation  of  Venuses 
all  alike  to'  the  thousandth  of  an  inch  1 
We  would  then  see  a  fine  crop  of  adver. 
tisements  like  this  :  ‘  Your  face  marred 
and  altered.  Individuality  guaranteed. 
Originality  and  eccentricities  worked  in 
until  twins  become  as  strangers.  Custom- 
made  bodies  of  exclusive  design.’ 

“  Fancy  reducing  the  fascinating  galaxy 
of  personalities  we  have  before  us  to-day 
to  the  mean  level  of  a  perfect  face  !  Who 
would  dare  thus  to  mechanicalise  the 
Spirit  of  Diversity?  Could  our  eminent 
artist  have  the  face  to  look  upon  such  a 
world?  It  would  be  like  living  in  an 
asylum  of  Benda  Masks — all  alike.” 

But  these  quibbling  objections  of  people 
like  Mr.  S-  K.  Johnson  in  “  Camera  !  ” 
will  not  bother  the  reformers  of  beauty. 

We  now  await  the  dawn  of  similar 
standardisation  in  other  fields— for  in¬ 
stance,  the  perfect  perfume  which  alone 
justifies  its  existence  among  the  odours 
of  the  world;  and  the  perfect  tune,  which, 
under  sensible  regulations,  would  be  the 
only  melody  allowed  to  be  played. 


THE  MOTION  PICTURE  STUDIO 


January  20,  1923 


Hampered 
Production 


British 


^ l  RING  the  last  two  years  there  has 
been  a  fall  in  the  production  of 
British  pictures.  Apart  from  the  figures, 
everyone  whose  livelihood  is  obtained  in 
or  through  the  film  studio  knows  it  from 
experience.  And  everyone  is  looking  for 
causes  and  remedies. 

In  1920  (the  figures  are  approximate) 
some  768,000  feet  of  home-made  pictures 
were  offered  to  the  exhibitor,  and  the  cost 
of  production  was  about  ^.'459,000.  A 
very  slight  fail  occurred  in  1921,  when 
747,200  feet  were  offered,  at  a  production 
cost  of  about  A, 448,320.  But  last  year 
showed  a  severe  drop,  the  footage  falling 
to  572,000  feet  and  the  cost  to  ,£>337,200. 

At  the  same  time  there  was  a  fall  in 
the  importation  of  American  films,  at 
least  in  regard  to  positive,  which  dropped 
from  some  fifteen  million  feet  of  positive 
and  two  million  feet  of  negative  in  1920 
to  9,102,251  feet  of  positive  in  1922,  nega¬ 
tive  rising  slightly  to  2,912,500  feet. 

But  the  astounding  disproportion  be¬ 
tween  the  figures  of  imported  and  native 
pictures  remains  the  same,  and  is 
gradually  having,  together  with  other 
causes,  the  effect  of  reducing  production 
in  this  country  almost  to  a  vanishing 
point. 

The  natural  advantages  of  America 
hardly  need  recapitulating.  She  has  an 
enormous  number  of  picture  theatres  giv¬ 
ing  her  a  field  wherein  she  can  usually 
get  back  at  least  her  negative  cost  on  a 
production,  leaving  her  foreign  sales  all 
profit.  Therefore  it  is  possible  to  dump 
pictures  into  this  country  at  prices  which 
cannot  be  touched  by  the  British  producer, 
who  has  to  get  his  cost  back  in  the  small 
theatre  market  here. 

But  a  greater  factor  is  that  the  qualitv 
of  the  American  films,,  as  an  average,  is 
much  better.  Because  pictures  have  been 
made  so  cheaply  and  parochially  here  on 
the  basis  of  the  home  market,  price  for 
price  they  cannot  be  compared  with  the 
American  product. 

.  Bet  if  be  just  this  way  :  An  American 
picture  costing  some  ten  to  fifteen 


Film  Production  in  Ireland 

Some  important  statements  concerning 
the  future  of  film  production  in  Ireland 
come  from  C.  E.  McConnel,  chairman  of 
Irish  Photo  Plays,  Ltd.  He  says  that  the 
company  intends  very  shortly  to  go  ahead 
and  do  things  on  a  really  large  scab. 
Although  the  pictures  already  produced, 
“The  Casey  Millions”  and’  “Wicklow 
Bold,  have  proved  a  success,  the  com¬ 
pany  finds  that  they  are  not  big  enough. 
The  title  of  the  latest  picture,  which  will 
be  screened  privately  for  the  benefit  of 
the  directors  within  'the  next  fortnight  or 
so,  is  “  C  ruiskeen  Lawn,”  an  Irish  racing 
play,  which  is  being  put  out  as  a  four- 
reeler. 

Plans  for  the  future  include  the  decision 
to  interview  some  big  producers — English 
and  American — with  the  object  of  launch¬ 
ing  out  on  a  far  more  extensive  scheme 
of  operations. 


The  Only 
Way  ? 

thousand  pounds  to  produce  can  be 
rented  in  this  country  at  prices  which  a 
native  producer  spending  three  or  four 
thousand  pounds  on  a  picture  would  have 
to  get  in  order  to  make  it  pav. 

It  is  certain  that  zvc  cannot  compete 
with  American  pictures  on  a  price  basts 
in  our  own  country,  much  less  abroad. 

Neither  can  we  get  a  share  of  the 
foreign  trade,  especially  in  the  United 
States,  by  trying  to  imitate  the  American 
product. 

Tariffs,  preferential  treatment  and  all 
the  other  artificial  nostrums  that  are  used 
to  bolster  up  an  industry  that  cannot  meet 
competition  are  particularly  useless  in  the 
case  of  films,  because — even  if  the  exhibi¬ 
tor  booked  British  pictures  because  of  the 
increased  cost  of  American  films  caused 
by  a  tariff  or  a  subsidy. — the  public  would 
not  go  to  see  them  unless  the  standard  of 
production  and  the  standard  of  studio 
efficiency  were  greatly  improved. 

There  are  palliatives  for  the  present 
situation,  but  they  will  not  do  the  In 
dustry  any  good  in  the  end. 

There  is  one  remedy — or  at  least  one 
hope — to  develop  in  this  country  a  stan¬ 
dard,  a  distinctive  type,  of  screen  art,  so 
that  our  pictures  are  wanted  abroad,  even 
in  the  overloaded  United  States,  because 
they  are  good  and  because  they  are  dif¬ 
ferent. 

Sweden  has  done  it  to  a  partial  extent 
—and  she  has  a  Continental  market  that 
would  make  most  of  our  own  producing 
organisations  shiver  with  ecstasy  if  if 
were  theirs. 


Next  Week’s 

Motion  "Picture 

Studio 

WILL  CONTAIN 

SPECIAL  FEATURES 

ON 

“THE  VIRGIN  QUEEN” 

(Blackcon-Rose) 

AND 

“Paddy-the-next-  best-Thing” 

( Graham  -  Wilcox) . 

zJn 

BOOK  YOUR  SPACE 

AND 

ORDER  YOUR  COPY 

NOW! 


“  Doubling  ” 

Is  it  Defensible  ? 

The  ethics  of  “doubling  ” — that  is  to 
say,  of  employing  someone  to  impersonate 
a  player  with"  the  object  of  deceiving  the 
public— is  not  very  clearly  established.  A 
particularly  glaring  instance  will  occur  to 
most  of  our  readers  who  are  in  touch 
with  the  realities  of  the  studio.  A  very 
famous  actor  has  been — and  is  being. — 
featured  in  a  British  picture,  the  very 
title  of  which  implies  a  breathless  exploit. 
That  actor  had  practically  no  actual  share 
in  the  really  risky  work  which  the  scenario 
necessitates,  and  others  l#id  to  perform, 
in  his  clothes,  the  vigorous  and  energetic 
work  by  reason  of  the  fact  that  the  actor 
was  quite  incapable  of  it. 

We  hold  no'  brief  for  the  “  stunt  ”  mer¬ 
chant  as  such,  and  believe  that  his  vogue 
when  he  appears  as  an  actor  is  pandering 
to  the  crudest  instincts  in  audiences.  The 
merely  sensational  picture  is  fortunately 
on  the  wane,  and  naturally  the  hare¬ 
brained  and  often  foolhardy  men  and 
women  find  their  occupation  dwindling. 
They,  therefore,  are  always  open  to 
“  double  ”  real  artistes  who  can  act,  but 
who  wisely  value  their  skins.  There  is 
more  excuse  for  them  than  there  is  for 
the  player  who  so  sensibly  refrains. 

But  why  should  an  actor,  however 
famous,  receive  the  plaudits  of  the  world 
for  performances  the  real  credit  to  which 
is  due  to  others?  This  is  especially  un¬ 
just  when  the  particular  “  stunts  ”  are  by 
no  means  outrageous,  and  above  all,  when 
it  is  perfectly  easy  to  find  an  actor  of  ex¬ 
perience  who  can  perform  them. 

Hepworth  Heavily  Disguised 

“  Bansv,’’  the  first  release  of  the  Burr 
Nickle  Productions,  after  nine  months’ 
work,  has  been  completed.  This  picture, 
is  a  novelty,  inasmuch  as  it  is  the  first 
production  wherein  none  of  the  artistes 
were  permitted  to  use  “  make-up.”  The 
foregoing  appears  as  a  snappy  item  in  an 
American  trade  paper,  and  is  a  delightful 
example  of  the  calm  appropriation  of 
all  the  credit  for  a  picture  so  British 
that  we  once  more  marvel  at  the  bland 
mendacity  which  studiously  suppresses 
all  indication  of  the  origin  of  this  charm¬ 
ing  Hepworth  production.  We  wonder 
what  would  happen  if  a  British  renting 
house  tried  to  persuade  us  that  they  were 
responsible  for  the  production  of  the 
American  pictures  they  handled. 

Donald  Searle’s  Thanks 

“  1  should  like  to  take  this  opportunity, 
through  your  publication,  of  thanking 
you  and  those  many  members  and  non- 
members  of  the  Kinema  Club  for  the 
great  interest  that  was  shown,  by  the 
many  inquiries  I  received,  relating  to  my 
accident  at  the  St.  James’s  Theatre.  I 
find  it  most  difficult  to  express  my  grati¬ 
tude  and  appreciation  in  writing,  especi¬ 
ally  to  those  members  who  paid  continual 
visits  to  me,  and  to  those  who  telephoned. 
I  must  add  that  I  was  deeply  moved  bv 
this  wonderful  consideration.  I  am 
pleased  to  say  my  injury  is  progressing 
very  favourably,  so  much  so  that  1  hope 
to  be  back  at  the  theatre  by  the  end  of 
this  week,  after  I  have  paid  a  visit  to 
9,  Great  Newport  Street.” — Donald 

S EARLE. 


12 


January  20,  1923 


THE  MOTION  PICTURE  STUDIO 


The  Scenario  School 

What  the  Halifax  Course  Cannot  Do 


M  ORE  than  one  of  our  readers  has'  I 
inquired  whether  we  are  in  a  posi¬ 
tion  to  recommend  the  School  of  Photo¬ 
play,  Halifax.  We  take  this  opportunity 
of  saying  we  are  not.  In  doing  so  we 
preserve  as  much  as  possible  an  open 
mind,  and  we  are  making  further  in¬ 
quiries,  the  results  of  which  we  will  com-  ' 
municate  to  our  readers  in  due  course. 

This  School  advertises  attractive  an¬ 
nouncements  calculated  to  appeal  to  the 
many  hundreds  of  people  who  labour 
under  the  impression  that  they  can  write 
film  stories.  The  fact  that  many  films 
are  contemptible  from  the  narrative  stand¬ 
point  is  probably  the  chief  reason  why 
so  many  amateurs  are  convinced  that 
openings  for  stories  of  a  similar  calibre 
— and  better — abound  ;  and  there  is,  there¬ 
fore,  a  promising  field  for  those  who:  sell 
courses  of  lessons  in  script-writing.  In 
America,  of  course,  their  name  is  legion- 

It  is  time  someone  pointed  out  that  the 
amateur  scenarist  is  in  general  no 
more  to  be  encouraged  than  the  amateur 
screen -struck  film  aspirant.  There  are 
bad  stories  and  bad  players  on  the  screens 
of  to-day,  just  as  there  are  bad  plays  and 
actors  on  the  legitimate  stage.  We  are  the 
last  to  deny-  this: — in  fact  we  are  constantly 
complaining  about  it.  But  the  improve¬ 
ment,  where  necessary,  must  begin  from 
within.  The  fresh  blood  is  already  to 
hand  in  the  persons  of  those  who'  have 
served,  and  are  serving,  a  term  of  ex¬ 
perience — and  too  often  of  bitter  experi¬ 
ence-  -in  the  Industry  itself.  It  is  their 
recognition  and  not  that  of  the-  outside 
amateur,  which  will  one  day  come;  and  it 
is  from  their  ranks  that  all  those  who 
have  already  won  real  popularity  have 
sprung. 

We  see  no  objection  to  Frank  King — 
whose  qualifications  we  would  neverthe¬ 
less  be  glad  to  know — selling,  as  principal 
of  the  Halifax  school,  courses  of  Iftchnical 
instruction  to  those  who  are  disposed  to 
pay  the  necessary  guineas.  We  strongly 
doubt  whether  anything  more  can  be  im¬ 
parted  thereby  than  can  be  acquired  from 
any  one  of  the  many  books  on  construc¬ 
tional  photoplay  writing ;  and  we  give 
Mr.  King  his  due  in  not  claiming  to:  teach 


Blazing  the  Airway  to  India 

The  six-reel  record  of  the  thrilling  at¬ 
tempt  of  three  young  Englishmen — Major 
Macmillan,  Captain  Blake  and  Captain 
Geoffrey  Malins,  O.B.E.— to  flv  round  the 
world,  is  a  wonderful  and  vivid  picture 
w  hich  will  shortly  be  placevd  before  the 
public.  It  is  a  valuable  illustration  of 
British  pluck  and  endurance  no:  less  than 
a  striking  incident  in  the  progress  of 
aviation.  The  ground  covered  from,  the 
original  start  at  Croydon  includes  Paris, 
the  Alps,  the  Riviera,  the  Apennines,  an 
amazing  view  of  the  crater  of  Vesuvius, 
Albania,  Corfu,  the  Libyan  desert,  Persian 
Gulf  and  India. 

The  journey  was  fraught  with  much 
risk,  and  was,  as  everybody  knows,  cur¬ 
tailed  bv  an  accident  which  nearly  cost 
the  three  intrepid  men  their  lives. 


more  than  the  machinery  of  scenario  lay¬ 
out. 

At  the  same  time,  we  wish  we  could 
bring  a  few  facts  before  all  those  people 
who  contemplate  indulging  in  Mr.  King’s 
course.  First  of  all,  a  bad  story  in  a 
film  would  not,  perhaps,  encourage  wo-uld- 
be  screen  authors  so  much  if  they  knew 
that  in  all  probability  the  original  story 
was  a  fairly  sound  and  intelligible  one 
spoilt  in  production  and  cutting.  Then 
there  is  the  important  fact  that  a  story 
submitted  in  the  technical  form  presum¬ 
ably  acquired  by  Mr.  King’s  lessons  by 
post  stands  less  chance  of  being  accepted 
or  even  of  being  read,  than  the  same  story 
submitted  in  ordinary  condensed  narrative 
of  action  The  writer  of  this  article  was 
scenario  editor  for  some  tears  to  a  firm 
of  deserved  repute  ;  and  as  not  one  story 
in  five  hundred  submitted  tO1  that  firm 
was  worthy  of  serious  consideration,  those 
which  were  set  out  in  lengthy  and  elabor¬ 
ate  scenario1  form  were  invariably  regarded 
with  prejudice,  because  while  there  was  not 
the  least  likelihood  of  their  being  more 
promising  on  that  account,  they  took  ten 


COMING 
TRADE  SHOWS 

J.  STUART  BLACKTON 
“The  Virgin  Queen.” 

Monday,  January  22, 
at  the  Empire  Theatre,  W.C., 
at  8.30  p.m. 

J.  Stuart  Blackton,  natural  colour  pro¬ 
duction.  Directed  by  j.  Stuart 
Blackton.  Leading  players  :  Lady 
Diana  Manners,  Carlyle  Blackwell, 
Norma  Whalley,  Hubert  Carter, 
William  Luff,  A.  B.  I  meson,  Walter 
Tennyson,  Violet  Virginia  Blackton. 
Controlled  by  the  Rose  E'ilm,  Co., 

Ltd. 

GRAHAM- WILCOX 
“Paddy — the  Next  Best 
Thing” 

From  Gertrude  Page’s  story. 
Directed  by  Graham  Cutts. 
Photographed  by  Rene  Guissart. 

Leading  players  : 

Mae  Marsh,  Nina  Bducicault,  Hai- 
dee  Wright,  Darby  Foster,  George 

K.  Arthur,  Marie  Wright,  Lillian 
Douglas,  Tom  Coventry,  Simeon 
Stuart. 

Trade  show  :  Alhambra,  W.,  Tues¬ 
day,  January  23,  at  11  a.m. 

BUTCHER-CARLTON 
“  Rogues  of  the  Turf  ” 

From  John  F.  Preston’s  play, 
Directed  by  Wilfred  Noy. 

Trade  show  :  New  Gallery  Kinema, 
Thursday,  January  25,  at  11.30  a.m. 


times  as  long  to  read  and  assimilate.  One 
of  the  few  instances  in  the  last  year  or 
so  of  an  outside  story  from  a  stranger 
being  accepted  in  England  was  a  short 
condensed  tale-plot  on  a  dozen  or  so'  typed 
pages,  which  Henry  Edwards  purchased 
and  then  had  a  scenario  written  in 
elaboration  of  it. 

In  general,  an  appalling  amount  of 
utterly  contemptible  rubbish  is  submitted 
to  producing  houses,  and  it  is  quite  enough 
for  these  firms  which  run  a  story  depart¬ 
ment  to  wade  through  their  daily  welter 
without  ihe  added  terror  of  every  story 
being  in  detailed  script  form  as  a  result 
of  photoplay  schools. 

We  have  no  desire  to  ridicule  those  who 
aspire  to  be  technical  script -writers ;  but 
it  is  quite  a  secondary  consideration  in 
submitting  stories.  Moreover,  all  script¬ 
writers  of  any  eminence — including  those 
quoted  in  the  Halifax  prospectus— have 
won  their  status  by  direct  association 
with  the  studios  for  long  periods  of  time, 
just  as  every  famous  dramatist’s  first-hand 
knowledge  of  the  theatre  is  his  greatest 
asset. 

The  more  people  who  learn  the  tech¬ 
nique  of  the  photoplay  the  better ;  but 
we  find  it  difficult  to  believe  that  such 
knowledge  can  be  properly  acquired  by 
tuition  through  His  Majesty’s  mails.  Mr- 
King’s  testimonials  from  his  ex-pupils  are 
fulsome,  but  he  does  not  quote  a  single 
word  of  evidence  that  any  one  of  his 
pupils  has  ever  had  a  scenario  accepted. 
It  is  also  hardlv  necessary  to  say  that 
there  is  no  indication  to  the  would-be 
student  of  the  unreliability  of  scenario¬ 
writing  as  a  lucrative  profession,  even  to 
those  whose  reputation,  in  this  country 
at  all  events,  is  already  established. 

In  one  respect,  however,  we  admit  Mr. 
King  is  our  superior.  He  hints  that  he 
knows  the  requirements  of  most  indi¬ 
vidual  producers.  We  are  almost  tempted 
to  take  his  course  for  that  information 
alone,  and  we  suggest  that  a  real  know¬ 
ledge  of  their  own  story  needs  should  be 
worth  the  money  alone  to  certain  pro¬ 
ducers  themselves. 


L.  B.  Lestocq  Joins  Bramlin’s 

We  learn  with  interest  that  L.  B.  Les¬ 
tocq  has  just  severed  his  connection  with 
Stage  and  Screen  Booking  Offices  and 
joined  the  well-known  agency  of  Bramlin  ’s 
and  will  be  from  now  associated  with 
John  Payne  in  the  activities  of  that  firm. 
He  wiil  be  more  than  pleased  to  see  any 
of  his  old  friends  at  239,  Shaftesbury 
Avenue,  where  from  now  on  he  is  in¬ 
stalled. 

Mr.  Lestocq,  who,  of  course,  is  the  son 
of  the  famous  Charles  Frohman’s  repre¬ 
sentative,  is  especially  qualified  for  his 
present  work,  having  been  casting  director 
at  Islington  for  Famous-Players  Laskv 
British  Productions.  He  is  esteemed 
personally  by  all  who  come  in  contact  with 
him,  and  we,  in  wishing  him  every  suc- 
1  cess,  congratulate  Bramlin’s  as  well- 


13 


THE  MOTION  PICTURE  STUDIO 


January  20,  1923 


The  Late 

Brig. -Gen.  W.  B.  Hulke,  D.S.O. 

Death  of  former  Kinema  Club  Manager 


JT  is  with  much  regret  that  we  have  to 
announce  the  death  of  Brigadier- 
General  W.  B.  Hulke,  D.S.O.,  who  was 
known  to  so  many  of  our  readers  in  this 
capacity  of  the  first  manager  of  the 
Kinema  Club.  An  efficient  administrator, 
a  tireless  worker  in  the  days  that  followed 
the  Club’s  inception,  and  an  unassuming 
gentleman,  he  won  the  earnest  regard  of 
all  who  knew  him.  His  passing  was 
comparatively  sudden,  although  many 
were  aware  that  his  activities  in  the  ser¬ 
vice  of  his  country  had  resulted  in  a 
legacy  of  suffering  of  which  he  always 
made  light. 

In  an  appreciation,  A-  Harding  Steer- 
man.  chairman  of  the  Kinema  Club 
House  Committee,  w  rites  : — 

“  The  death  of  the  late  manager  of  the 
Kinema  Club,  Brig. -Gen.  Hulke,  comes 
as  a  great  shock  to  many  of  us  who  did 
not  know  even  that  he  was  ill. 

“  I  had  the  privilege  of  many  little 
quiet  chats  with  him.  A  man  of  great 
ability,  he  was  also  most  modest ;  and  it 
was  with  difficulty  that  I  could  ever  in¬ 
duce  him  to  talk  of  himself. 

“  He  retired  from  the  Army  some  years 
ago,  and  having  settled  abroad,  was  begin¬ 
ning  to  see  the  fruits  of  his  labour  on  his 
ranch,  when  the  war  burst  upon  the 
world.  Like  all  true  patriots,  he  at  once 
returned  to  England  and  rejoined  his  old 
regiment,  the  1st  Lines,  as  captain. 
What  he  achieved  during  the  great 
catastrophe  I  could  never  find  out,  but 


R.  Terreneau  is  turning  for  George 
Cooper  at  Clapham. 


E.  Grant  is  not  the  only  cameraman 
off  to  Australia.  Will  Howse  sails  within 
the  next  fortnight. 


Kenneth  Gordon  is  abroad — but  his 
mission  and  destination  are  a  secret  until 
he  returns  in  a  few  days. 


Percy  Strong  is  turning'  on  “Tip-toes.” 
This  does  not  mean  he  is  rehearsing  for 
the  dance  after  the  K.C.S.  dinner. 


Many  deserved  compliments  on  “The 
Romany  ”  photography  have  been  made, 
and  Percy  Strong  has  certainly  made  a 
reputation  thereby — a  result;  which  is  all 
the  more  creditable  on  account  <>t  the 
bad  weather  so  often  experienced. 


We  are  asked  by  Pathe  Freres  Cinema 
to  correct  a  possible  misapprehension  re¬ 
garding  the  St.  Paul’s  film.  Kenneth 
Gordon,  with  two  other  cameramen,  was 
responsible  for  the  photography  for  Pathe, 
who  are  issuing  the  subject  very7  shortly. 

1  he  usual  weekly  meeting  was  held  on 


that  it  was  something  out  of  the  ordinary 
is  certain  from  the  fact  that  not  only 
was  he  awarded  the  coveted  decoration 
of  the  D.S.O.,  but  also  received  pro¬ 
motion  after  promotion  until  he  became 
brig.-general,  with  which  high  rank  he 
was  placed  on  the  retired  list  on  demobili¬ 
sation. 

“  With  his  health  impaired  and  his 
business  abroad  lost,  there  seemed  no¬ 
thing  for  him  to  do  but  remain  in  Eng¬ 
land.  He  took  over  the  management  of 
the  Club  at  a  critical  time,  but  his  tact, 
geniality  and  business  capacity  went  far 
towards  lessening  the  difficulties  with 
which  it  was  beset. 

“  In  the  hope  of  gaining  further  in¬ 
formation,  I  interviewed  his  widow,  but 
her  onlv  comment  was  :  ‘He  vvlas  one  of 
England’s  most  gallant  gentlemen.’  That 
explains  everything. 

“Only  a  few  months  ago,  after  leaving 
the  Club,  he  and  his  wife  opened  a  small 
restaurant  with  the  object  of  catering  for 
people  like  themselves  whose  financial 
circumstances  had  been  so  seriously  af¬ 
fected  by  the  war.  This  restaurant,  ap- 
oropriately  named  ‘The  Venture,’  is  situ¬ 
ated  in  Carnaby  Street,  at  the  back  of 
Regent  Street,  and  is  still  being  carried 
on  by  his  widow. 

“  In  accordance  wSth  our  custom,  a 
wreath  was  sent  by  the  Club  and  letters 
of  gratitude  for  our  sympathy  have  been 
received  from  his  widow  as  well  as  from 
members  of  his  family.” 


Friday  the  12th,  and  the  Chairman,  H. 
Sanders,  proposed  that  in  future  the 
Society  would  meet  at  the  Kinema  Club 
every  third  Friday  in  the  month.  This 
wTas  agreed  to. 

The  dinner,  concert  and  dance,  tO'  be 
held  at  the  Holborn  Restaurant,  on 
February  16th,  promises  to  be  a  well-at¬ 
tended  function.  Tickets  are  on  sale  at 
the  Kinema  Club,  and  can  also  be  obtained 
from  Committee  members,  price  12s.  6d., 
double  tickets  (lady  and  gentleman),  21s. 

The  annual  general  meeting  of  the 
Society  will  take  place  at  the  Kinema 
Club  on  Friday,  February  2nd. 


Emile  I.auste,  of  Welsh-Pearson  and 
Co.,  made  the  Trade  show  copy  of  “The 
Romany.”  Lauste  has  temporarily  for¬ 
saken  the  camera  for  the  dark-room — 
being  a  firm  believer  that  the  laboratory 
is  as  important  as  the  camera.  Who, 
indeed,  will  deny  that  the  most  vital  side 
of  production  is  that  of  the  master  copy — 
the  negative?  In  spite  of  the  meticulous 
care  of  the  precious  celluloid  being  recog¬ 
nised  as  essential,  there  are  still — and, 
we  fear,  there  will  continue  to  be — pro- 
idjulctjions  excellent  in  every  (Other  way 
jeopardised  bv  lack  of  due  attention  in 
this  direction. 


REX  WILSON’S 
FILM  SCHOOL 

Producer  Who  Should  Know  Better 

/^NE  is  less  surprised  when  a  school  for 
instruction  in  kinema-acting  is 
started  by  an  obvious  “shark  ”  than  when 
a  British  producer  of  some  responsibility 
and  repute,  with  a  record  of  pictures, 
launches  out  into  such  a  scheme.  We 
make  not  the  slightest  imputation  against 
Rex  Wilson,  whom  we  dare  say  may  be 
under  the  honest  impression  that  he  is 
performing  some  real  service  to  the  In¬ 
dustry  and  to  the  British  nation,  by  his 
latest  enterprise.  We  have  no  evidence 
whatever  that  he  promises  work  as  a 
result  of  such  alleged  training,  and  con¬ 
gratulate  him  upon  his  honesty  in  re¬ 
fraining  from  doing  so. 

At  the  same  time,  his  scheme  as  out¬ 
lined  in  the  brochure  before  us — which 
describes  him  with  refreshing  candour  as 
“  the  greatest  director  this  country  has 
yet  known  is  calculated  to  encourage 
the  most  misleading  impressions  in  the 
minds  of  those  whose  lack  of  knowledge 
induces  them  to  contemplate  joining  the 
already  swollen  ranks  of  the  film-players 
of  Great  Britain.  Although  he  expressly 
does  not  wish  “  to  raise  false  hopes,” 
those  who  successfully  pass  through  the 
tests  will  be,  “  without  a  shadow  of  a 
doubt,  accomplished  and  efficient  kinema 
artistes,  equipped  to  take  their  place  and 
worthily  sustain  the  high  standard  ex¬ 
pected,  indeed  demanded  of  them,  in  any 
of  the  finest  productions  of  the  future.  ” 

This  is  unquestionably  a  suggestion 
that  the  training  is  a  short  cut  to  fame. 
Mr.  Wilson's  omissions  are  surelv  calcu¬ 
lated.  Even  if  his  tuition  made  his  pupils 
into  film  players  of  experience,  those 
pupils  might  be  interested,  first,  in  the 
circumstance  that  there  are  countless 
dozens  of  experienced  professional  artistes 
whose  claims  for  preference  the  intrusive 
amateur  has  no  grounds  whatever  for  sup¬ 
planting  ;  secondly,  that  the  mere  fact  of 
an  applicant  for  screen  work  having  been 
to  a  film-school  will  effectually  prevent  his 
engagement  by  nine  firms  out  of  ten ; 
and  lastly,  that  the  screen  stars  who  have 
won  through  have  started  precariously  in 
crowds  and  small  parts  without  having 
resort  to  any  so-called  training. 

Applicants  are  being  informed  that  in¬ 
struction  is  being  now  given  at  a  fee  of 
certain  guineas  oer  month,  and  that  any 
applicant  found  unsuitable  will  have  most 
of  his  fee  returned.  Mr.  Wilson’s  own 
“  mature  judgment”  will  in  all  cases  de¬ 
cide  these  things,  and  he  announces  in 
print  his  determination  to  get  his  cast  in 
England  for  his  productions.  No  doubt 
details  of  his  coming  pictures  will  be  duly- 
announced.  We  await  them  with  interest 
and  without  prejudice,  and  meanwhile  We 
are  wondering  why  he  is  teaching  ama¬ 
teurs  to  become  film-actors  instead  of  get¬ 
ting  on  with  his  productions. 


Charles  Wilcox  sails  tc  dnv  (Saturday) 
on  the  Berengaria,  for  New  York,  repre¬ 
senting  Graham-Wilcox  productions,  We 
understand  that  Graham  Cutts  was  to 
have  accompanied  him,  but  has  had  the 
bad  luck  to  have  been  taken  suddenly  ill. 


Cameramen’s  Section 

News  and  Views  and  Record  of  Activities  of 

Kine-Cameramen 


14 


January  20,  1923 


THE  MOTION  PICTURE  STUDIO 


Adelqui  Millar  Productions. — 1,  Le  in- 

ster  Square,  W.2.  Park  1258. 

Albert-Phillips  Film  Production. — 3, 

Wardour  Street,  W.l.  Regent32  82. 

Alliance  Film  Co. — St.  Margaret’s, 
Twickenham.  Richmond  1945. 

Route  :  ’Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s  every 
10  minutes. 

Artistic  Films,  Ltd. — 93-95,  Wardour 
Street,  W.l.  Gerrard  3210. 

Film  :  “  The  Monkey’s  Paw.” 

Director  :  Manning  Haynes. 

Scenarist  :  Lydia  Hayward. 

Stars  :  Moore  Marriott  and  Mary 
Ault. 

Cameraman  :  Frank  Grainger. 

Stage  :  Eleventh  week. 

Astor  Productions. — 40,  Shaftesbury 
Avenue.  London,  W.  Gerrard  8436. 

Director  :  Peter  Astor. 

Atlas  Biocraft. — -58,  Haymarket,  Lon¬ 
don,  S.W.l. 

Brouett  Productions.  —  Barker’s 
Studios,  Ealing  Green,  W.  5. 
’Phone  :  Ealing  211  and  1582. 

Route  :  District  or  C.L.R.  Tube  to 
Ealing  Broadway.  Piccadilly  Tube, 
change  at  Hammersmith.  ’Bus 
Route  No.  17. 

Films  :  Fred  Karno  Comedies. 

Director  :  Albert  Brouett. 

Scenarist  :  P.  I..  Mannock. 

Cameraman  :  L.  G.  Egrot. 

Studio  Manager  :  H.  C.  Wans- 
borough. 

Stage  :  Casting. 

B.  &  C.  Productions. — Hoe  Street, 
Walthamstow.  Walthamstow  364 
and  712. 

Route  :  ’Bus  38.  Tram  81  to 
Bakers’  Anns.  Trains  from  Liver¬ 
pool  Street  to  Hoe  Street  every 
few  minutes. 

Film  :  “  Wonder  Women  of  the 
World.” 

Type  :  One-reelers. 

Director  :  Edwin  Greenwood. 

Scenarist  :  Elliot  Stannard  and 
Edwin  Greenwood. 

Cameraman  :  A.  G.  Kingston. 

Stage  :  One  a  fortnight. 


Film  :  “  Gems  of  Literature.” 

Director  :  Edwin  J.  Collins. 

Type  :  Two-reel  dramas. 

Cameraman  :  A.  G.  Kingston. 

Scenarist  :  Eliot  Stannard. 

Stage  :  One  a  fortnight. 

Baron  Films. — 91,  St.  Martin’s  Lane, 
W.C.2. 

Bayard  Films. — B.  P.  Studios,  Thorn- 
House,  Thornton  Road,  Clapham 
Park,  Streatham,  2652. 

Film  :  “  The  Forfeit.” 

Star  :  Lilian  Braithwaite. 

Director  :  Campbell  Gullan. 

Cameraman  :  Percy  Anthony. 

Beehive  Production.— 

Production  Manager  :  Geoffrey 
Benstead. 

Directors  :  George  Dewhurst  and 
Bern  Haldane 

Assistant  Director  :  Horace  Cor- 
hyn. 

Scenarist  :  Jack  Denton. 

Stars  :  Jimmy  Reardon  and  Mar¬ 
garet  Hope. 

Cameramen  :  G.  Pauli  and  Bert  Ford 

Stage  :  Scheduled. 

British  Famous  Films.  —  “  Wood¬ 
lands,”  High  Road,  Whetstone. 
Finchley  1297. 

Studio  Vacant. 

British  and  Oriental. — B.P.  Studios, 
Thornton  House,  Thornton  Road, 
Clapham  Park.  Streatham  2652. 

British  Photoplays. — Devon  Cham¬ 
bers.  28,  Fleet  Street,  Torquay. 

Not  Working. 

British  Productions. — Selbome  Road, 
Hove. 

ilm  :  Title  undecided. 


Complete  List  of  all  the  British  Studios,  together 
with  Addresses,  Telephone  Numbers,  Full  Par¬ 
ticulars  of  Current  Productions  and  Routes  for 
::  ::  ::  ::  Reaching  the  Studios  ::  ::  ::  :: 


~^-q\ 


Director  :  Lieut.  Daring. 

Star  :  Lieut.  Daring. 

Cameraman  :  Bert  Ford. 

British  Super  Films. — Worton  Hall, 
Isleworth.  Hounslow  212. 

Route  :  ’Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth  : 
A.m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 
past  each  hour  until  11.51  p.m. 
Extra  trains  :  4.43,  5.13,  5.43, 

6.13,  6.43,  7.13. 

Isleworth  to  Waterloo  :  8.33. 
8.4  4,  9.3,  9.13,  9.33,  9.4  4,  10.14, 
10.44.  Same  minutes  past  every 
hour  until  10.44,  11.14  p.m. 

Extra  trains  :  5.30,  6.0,  6.30. 

Daisy  Productions. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson. — Lea  Bridge  Road,  E.10. 

Walthamstow  634. 

Route  :  ’Bus  Nos.  35  and  38.  Trams 
81,  55,  57. 

Dewhurst  Productions. 

Film  :  “  What  the  Butler  Saw.” 
Director  :  George  Dewhurst. 

Star  :  Madge  Stuart. 

Cameraman  :  G.  Pauli. 

Stage  :  Cutting  and  assembling. 


Film  :  “  The  Uninvited  Guest.” 
Director  :  George  Dewhurst. 


Star  :  Stewart  Rome. 

Cameraman  :  G.  Pauli. 

Stage  :  Cutting  and  assembling. 

F.  P.-Lasky. — Poole  Street,  Isling¬ 
ton.  Dalston  2  770. 

Route  :  ’Bus  38a,  to  New  North 
Road,  and  then  tranrNo.  11. 

Gaumont. — Lime  Grove,  Shepherd’s 
Bush,  W.12.  Hammersmith  2090- 
1-2. 

Route  :  ’Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station. 

Film  :  “  Fires  of  Fate.” 

Director  :  Tom  Terriss. 

Star  :  Wanda  Hawley. 

Stage  :  Scheduled. 

Glen  Film  Productions. — 20,  Lisle 
Street,  W.C. 

Studio  :  “  Belgrave,”  Marine  Ter¬ 
race,  Aberystwyth. 

Not  working. 

“  Gems  of  Art  ”  Film  Co.,  Ltd. — 

1,  Bear  Street,  W.C. 

Films  :  “  Gems  of  Art.” 

Director  :  Norman  Macdonald. 

Cameraman  :  E.  Groc. 

Stage  :  Fourth  week. 

George  Clark  Productions. — 47,  Ber¬ 
ners  Street,  W.l.  Museum  3012. 

Film  :  “  The  Starlit  Garden.” 

Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Cameraman  :  H.  A.  Rendall. 

Stage  :  Sixth  week. 


WE  CAN  DELIVER  FROM  STOCK 

The  Columbia  12  in.  by  \  in-  Silver-tipped 
Carbons  for  Wohl  and  other  Studio  Lamps. 

Recommended  by  Wohl  s  as  the  only  suitable  Carbon 
for  their  Lamps. 

UNITED  KINGDOM  PHOTOPL4YS,  Ltd 

29a,  CHARING  CROSS  ROAD,  W.C  2. 

’Phone  :  Gerrard  8742. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


(6 


’Phone 


DEBRIE 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER 

23,  Mortimer  Street,  London,  W.  i 


Graham  Wilcox  Productions. — 174, 
Wardour  Street,  London,  W.  1. 
’Phone  :  Regent  55  6-7. 

Next  Film:  “  Chu  Chin  Chow.” 
Director  :  Graham  Cutts. 

Stage  :  Scheduled. 

Granger-Binger. — 191,  Wardour  St., 
W.l.  Gerrard  1081.  1728. 

Studios  :  Haarlem.  Holland. 

Film  :  “  The  Hypocrites.” 

Stage  :  Completed. 

Film  :  “  The  Lion’s  Mouse.” 

Stage  :  Completed. 

Granville  Productions. — 61.  Berners 
Street,  W.l.  Museum  2528. 

Film  :  “  Hennessey  of  Moresby.” 
Director  :  Fred  Le  Roy  Granville. 
Stage  :  Starting  shortly. 

Hardy. — 13,  Gerrard  Street,  W.l. 
Gerrard  22  84. 

Harma  Clarendon. — 16,  Limes  Road, 
Croydon.  Croydon  921  and  2084. 
Hepworth  Picture  Plays. — Walton* 
on-Thames.  Walton  16. 

Route  :  From  Waterloo  :  A.m., 
7.0,  8.0,  9.20,  10.20,  11.20  ;  p.m., 
12.20,  1.20,  2.20,  3.20,  4.20,  4,54, 
5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  8.20,  8.55,  9.20,  10.20, 
11.34. 

From  Walton  :  A.m.,  7.59.  8.2  9, 
8.41,  8.56,  9.9,  9.46,  10.10,  11.10  ; 
p.m.,  12.10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44,  6.10,  7.10,  8.10,  9.10, 

10.10,  10.35.  11.34. 

N.B. — There  is  a  frequent  train 
service  to  and  from  Shepperton  from 
Waterloo.  The  station  is  as  near  as 
Walton  to  the  studio. 

Film  :  “  Pipes  of  Pan.” 

Star  :  Alma  Taylor. 

Scenarist  :  George  Dewhurst. 
Director  :  Cecil  M.  Hepworth. 
Stage  ;  Completed. 


Film  :  “  Lily  of  the  Valley.” 

Stars  :  Henry  Edwards  and  Chrissie- 
White. 

Director  :  Henry  Edwards. 

Stage  :  Completed. 


Film  ;  “  Mist  in  the  Valley.” 

Star  :  Alma  Taylor. 

Director  :  Cecil  M.  Hepworth. 
Stage  :  Completed. 

Ideal. — Boreham  Woods,  Elstree, 
Herts.  Elstree  52. 

Route  :  Trains  from  St.  Pancras  ; 
A.m.,  7.30,  8.0,  8.50,  9.55.  10.45. 
11.48;  p.m.,  12.33,  1.13,  2.35; 

3.55,  4.45,  5.12,  6.2,  6.45.  6.50, 
7.20,  8.8,  9.18,  10.35,  11.35. 

From  Elstree  to  St  .  Pancras  : 
9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.3,  3.56,  4.56,  5.29,  6.18,  6.55, 
7.36,  8.54,  10.14,  11.3. 

Studio  Manager  ;  F.  A.  Kendrick. 
Art  Director  :  J.  T.  Garside. 


Film  :  “  This  Freedom.” 
Director  ;  Denison  Clift. 
Star  :  Fay  Compton. 
Scenarist  :  Denison  Clift. 
Stage  :  Completed. 


Film  ;  “  The  Hawk.” 
Director  :  Frank  Crane. 
Star  :  Chas.  Hutchison. 
Stage  :  Ninth  week. 


Film  :  “  Out  to  Win.” 
Director  :  Denison  Clift. 
Stage  :  Scheduled. 


Film  :  “  Mary  Queen  of  Scots.” 
Star  :  Fay  Compton. 

Director  :  Denison  Clift. 

Stage  :  Scheduled. 


Film  ;  “  Old  Bill  Through  the  Ages.” 
Director  :  Thomas  Bentley. 

Stage  :  Scheduled. 

Isle  of  Man  Films. — The  Manx  Studios 
Isle  of  Man. 

Not  working. 


R6G6NT5233  Qll&lity  &  Sen/IC e  WARDOJRST 

100%  F I LM  100% 

amfcoIo.loKdoIi  Developers& Printers.  LO£ROM- 


15 


THE  MOTION  PICTURE  STUDIO 


January  20,  1923 


Studio  A  rtistes 

Should  not  miss  the 
original  and  only  Film 
Fan  Monthly  Magazine 


Order  it  from 
your  Newsagent. 


Send  the  Editor  of  “The  Picturegoer”  any  news 
of  your  movements  and  incidents  that  would  make 
interesting  “copy”  and  copies  of  all  your  most 
up-to-date  portraits  and  stills. 


THE  PULSE  OF  THE  STUDIO-Continued  from  previous  page 


Milton. — Weir  House,  Broom  Hoad, 
Teddington.  Kingston  1617. 
Studio  closed  for  structural  altera¬ 
tions. 

Minerva  Films. — 110.  Victoria  Street 
S.W.l.  Victoria  7545. 

Not  working. 

Progress  Film  Co. — Shoreliam-on- 
Sea.  Shoreham  19. 

Quality  Films. — Windsor  Studios 
Catford.  Lee  Green  94  8. 

Film  :  One-  and  two-reelers. 
Director  :  George  A.  Cooper. 
Studio  Manager  :  S.  Folker. 
Cameraman  :  R.  Terreaneau. 

Stage  :  One  a  week. 

Raleigh  King  Productions. — Wat- 
combe  Hall.  Torquay. 

Studio  Vacant. 

Regulus  Films. — 4  8,  Carnaby  Street, 
Regent  Street,  W.  1. 

Not  working. 

Samuelson  Film  Co. — Worton  Hall, 
Isleworth. 

Seal  Productions.  ■ —  171,  Wardour 

Street.  Regent  4329. 

Not  working. 

Screenplays. — Cranmer  Court,  Clap- 
ham.  Brixton  2956. 

Route  :  ’Bus  Nos.  5,  32,  6  7,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 


Stoll. — Temple  Road,  Cricklewood. 

Willesden  3293. 

Route.  :  ’Bus  No.  16. 

Studio  Manager  :  J.  Grossman. 

Film  :  “  The  Prodigal  Son.” 
Director  :  A.  E.  Coleby. 

Stars  :  Henry  Victor,  Stewart  Rome 
and  Edith  Bishop. 

Cameraman  :  D.  P.  Cooper. 

Stage  :  Completed. 


Film  :  “  Top  of  the  World.” 
Director  :  Maurice  Elvey. 
Stage  :  Scheduled. 


Film  :  “  Open  Country.” 

Director  :  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  David 
Hawthorne. 

Cameraman  :  A1  Moise. 

Stage  :  Completed. 


Film  :  “  Sherlock  Holmes  ”  Stories. 
Director  :  George  Ridgwell. 

Star  :  Eille  Norwood. 

Cameraman  :  A1  Moise. 


Film  :  “  The  Sign  of  Four.” 
Director  :  Maurice  Elvey. 

Star  :  Eille  Norwood. 

Cameramen  :  Jack  Cox  and  A1  Moise. 
Stage  :  Tenth  week. 


Film  :  “  The  Wandering  Jew.” 
Star  :  Matheson  Lang. 
Director  :  Maurice  Elvey. 
Stage  :  Starting  shortly. " 


Film  :  “  Guy  Fawkes.” 
Director  :  Maurice  Elvey. 
Stage  :  Scheduled. 


Films  :  Two-reel  dramas.  “  Fu 
Manchu.” 

Director  :  A.  E.  Coleby. 

Stage  :  Starting  shortly. 

J.  Stuart  Blackton. — Bush  House, 
Aldwych.  Central  1935. 
Walker-Boyd  Sunshine  Productions* 

Film  :  “  There  and  Back.” 

Director  :  Martin  Walker. 

Stage  :  Scheduled. 


vv  ciiujr 


riuuucuons. 

Kew  Bridge. 


-r  nuL'es 


Chiswick 


Studios, 

574. 

Route  :  ’Bus  Nos.  27,  10  5. 

Broad  Street  to  Kew.:  A.m.,  8.2, 
8.20,  8.45.  9.0,  9.47,  10.17,  10.47, 

11.17,  11.47;  p.m.,  12.17,  12.47. 

1.17,  1.47,  2.17,  2.47,  3.17,  3.4  7. 

4.17,  4.31,  5.3,  5.17,  5.32,’  5!4(L 
6.2,  6.20.  6.50,  7.17,  7.47,  8.17. 
8.4  7,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street 


A.m.,  9.40,  10.8,  10.38,  11.8, 
11.38;  p.m.,  12.8,  12.38,  1.8, 

1.38,  2.8,  2.38,  3.8,  3.38,  4.8,  4.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20, 

6.38,  7.8,  7.38,  8.8  8.38,  9.8,  9.38, 
Film  :  “  The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Florence  Turner,  Kathleen 
Vaughan,  Nora  Swinburne,  Fred 
Wright,  and  James  Knight. 

Stage  :  Cutting  and  assembling. 


Film  :  “  The  Lady  Trainer. 

,  Star  :  Violet  Hopson. 

!  Scenarist  :  J.  Bertram  Brown. 
Cameraman  :  G.  Toni. 
Director  :  Walter  West, 

Stage  :  Fifth  week. 


Film  :  in  the  Blood.” 

Director  :  Walter  West, 

Stage  :  Commencing  March  1st, 

Welsh  Pearson. — 41-45.  Craven  Park, 
Harlesden,  N.W.10.  Willesden  2862. 
i  Route  :  ’Bus  No.  18. 

|  Film  :  “  Tip-Toes.” 

Star  :  Betty  Balfour. 

Director  :  G.  Pearson. 

Cameramen  :  Percy  Strong  and 
Emile  Lauste. 

Stage  :  Third  week. 


EVERYBODY 

IN  BRITISH  PICTURES 

will  be  at  tbe  Second 

KINEMA  CLUB 

CARNIVAL 

at  the  HOTEL  CECIL  on 
MONDAY,  FEBRUARY  5. 


Dancing  from  10  p.m.  to  3  a.m. 
Valuable  Prizes  for  the  best 
Fancy  Costumes. 

Flew  and  Flovel  Attractions. 


TICKETS  (  Supper  )  £ 1  :  5  :  O 

Single,  may  be  obtained  from  BILLIE  BRISTOW 
(Organiser),  175  Wardour  Street,  W.l  ;  The 
Kinemi  Club  (Secretary  s  Office),  9,  Great 
Newport  Street,  W.C.,  or  any  Member  of  the 

Committee. 

YOU  will  be  there! 


C.  F.  ANDERSON  6?  SON 

13,  Essex  Road,  N.l.  Telephone  Dalston  1840.  • 

Timber  Merchants 


Specialise  in  the  best  quality 
Dry  Timber  for  Set  Building. 

We  stock  also 

S.  X.  Board  Fire-proofed 

and 

Compo  Board 

As  exclusively  supplied  to 

Famous  Players  Lasky  Studios 

for  three  years. 


Printed  and  Published  hv  ODHAMS  PRESS  Ltd.,  Long  Acre,  January  20,  1923 


The  Motion  Fizt  ire  Studio. 


Saturday ,  January  27,  1923 


Registered  at  the  G-P.O.  as  a  ncic'shaper 


ffh  e  Of f i  c  /  a  L  Or^otn  of  the  ~l<oinema  Clucb 


Saturday,  January  27,  1923 


Twopence 


J.  STUART  BLACKTON’S 


Super  British  Film 

"  (T  b t  Uirgnt  detent  " 

featuring 

Lady  Diana  Manners  and  Carlyle  Blackwell 

as  Queen  Elizabeth  as  Lord  Robert  Dudley 

Exclusive  Exhibition  Rights  Controlled  by 

THE  ROSE  FILM  COMPANY,  Ltd., 

89/91,  WARDOUR  ST.,  LONDON,  W.l. 


THE  MOTION  PICTURE  STUDIO 


January  27,  1923 


ARTISTES 


THELMA 
MUR  R A Y 

Character  &  Emotional  parts 
Leads  for  Stoll,  Masters, 
Raleigh  King,  B.  &  C.,  etc. 
All  corns  :  ‘•LYNDALE.” 
OAKLEY  RD„ 
WHYTELEAFE,  SURREY, 
or  to  the  Kinema  Club. 


NOEL  GRAHAME 

Heavy  Character  &  Comedy. 
Heavy  lead  :  “  Bladys  of  the 
Stewponey,”  “Cost  of  a  Kiss,” 
“  Britain’s  Naval  Secret,”  etc. 

11,  Clanricarde  Gardens, 

Hyde  Park,  W.2. 
Park  4514. 
and  Kinema  Club. 

Photo  bv  Navana. 


DOUGLAS  WEBSTER 

Juvenile  Character  Leads. 
Stage  Experience. 

Just  completed  “  Lerov 
Lindsay”  in  “Shifting  Sands’’ 
(Granville  Productions). 
All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av. 
'Phone  :  Regent  4329. 


MARY  ODETTE 

Just  concluded  :  “  The  Lion’s 
Mouse”  and  “The  Hypo¬ 
crites.’’ 

Latest  Releases  : 

“Wonderful  Year’ 

"All  Roads  Lead  tc  Calvary.’’ 
All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av.,W.i 
Resrent  4329. 


GORDON  BEGG 

Dramatic  —  Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.  11, 

Telephone :  Battersea  21. 


DEZMA  DU  MAY 

“  Long  Odds  ”  (Stoll),  “Rob 
Roy”  (Gaumont),  “  Pearl  for 
Pearl  ”  (Quality),  also  Welsh- 
Pearson,  Alliance  Screen 
Plays,  Ideal,  Davidson’s. 

170.  HIGH  ROAD, 

ILFORD,  E 


HURLi'l 

GEORGE  KEENE 

Star  Lead.  Disengaged. 

Jk* 

Featuring—  “  Black  Sheep," 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters,” 
“Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 
Address  : 

121b,  Church  St.,  Croydon 
Phone  :  Croydon  835. 

Rosina  Wright. 

‘‘Sister  Ursula”  in  “  Per- 
petua  Mary  ’  (Famous-La  sky) 
“The  Nurse”  to  “The  Grass 
Orphan  "( Ideal  Film). 
“Phil I i pa”  in  “Open  Country” 
(Stoll  Film). 

8  years  Film  experience. 

8a,  GOLDERS  WAY, 
GOLDBRS  GREEN, N.W  11 
or  Kinema  Club. 


PHOTO 

BLOCK 


THIS  SPACE 
TO  LET 

.£3  for  13  insertions, 
including  c>  st  of 
making  block. 


F.  C  R  E  M  L  I  N  . 

Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club 


ARTISTES 


ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 
Character  Parts,  “  Mrs.  Gatty,”  in  “Christie 
Johnstone  ”  (Broadvvest),  “  Margaret  Howe’’ 
in  “  Beside  the  Bonny  Brier  Bush  ”  (Lasky), 
“  Nanny  ”  in  “  Tell  your  Children  ’’  (Interna¬ 
tional)  “Anna  ”  in  “  The  Prodigal  Son  ”  (Stoll). 

55.  Campden  St.,  Kensington.  W.8. 

_ Tel.  :  Park  3623. _ 

ARTHUR  PUSEY 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagoon”  for  I.V.T.A. 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 


THIS  SPACE  TO  LET 
£2  10  0  for  13  insertions 


MI  LTON  ROSM  E  R 

INVITES  OFFERS. 

16,  Weymouth  Street,  W. 1.  Phone:  Langham  2243 

MARIE  AULT, 

Character  and  Comedy. 

235,  King's  Road,  Chelsea 

WARREN  HASTINGS, 

5,  POND  PLACE, 

CHELSEA,  S.W.3. 
INVITES  OFF  ERS.  _ 

HARCOURT  TEMP  LEMAN, 

As'istant  Director  'late  Screen  I  lays). 

At  Liberty.  Returned  from  Tour. 

Corns.  :  33,  Ennismor?  Avenue,  Chiswick,  W.4. 


P  R  O  DUCER .  .  .  .  . 

W.  P.  K  ELL  I  NO, 

Gaumont  Studios. 

All  corns,  after  January  29  : 

STOLL  STUDIOS,  CRICKLEWOOD. 

Cameraman,  Basil  W.  G.  Emmott. 

COSTUMIER.  .  .  . 
Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W. 

’Phone;  Gerrard  612. 


SCENARISTS  * 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M’LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.L 

’Phone :  Regent  4747 
or  Kinema  Club,  Regent  630. 

GERALD  DE  BEAUREPAIRE, 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 


CAMERAMEN.  .  .  . 

ALFRED  H.  MOISE. 

PREMIER  CAMERAMAN  — 

:  SCIENTIFIC  OUTFIT.  : 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  ‘■treet,  W.C.2. 

’Phone — Regent  630. 

L.  G.  EGROT 

EXPERT  CAMERAMAN. 

“  The  Better  ’Ole,”  etc.,  etc., . 

. “  The  Wonderful  Story.” 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W. 2. 

’Phone  :  Streatham  3085. 

PUBLICITY  .  rr . 


“Let  me  handle  your  publicity  account.’’ 
Informa  ion  gladlv  given. 

JOHN  CORNYN 

Advertising  ::  Publicity 

231,  BYRNE  BLDG.,  Los  Angeles, 

CALIFORNIA. 


KENELM  FOSS 

c/o  CURTIS  BROWN, 

116,  WEST  39th  STREET, 

NEW  YORK  CITY. 
NOW  BACK  IN  LONDON. 


A  DOG 

with  a  wonderful  character,  accompanied 
by  hD  master.  Invites  offers. 

C/o  “M.P.  Studu.” 


ADVERTISEMENT  RATES 

Professional  Cards  : 

3-col.  cards,  including 

photo  block  -  -  £3  0  0  per  quarter  year 


3-col.  cards,  without 


photo  block 

-  £2 

10 

0  „ 

Small  cards  - 

- 

17 

6  ,, 

“Who’s  Where”  ( 

2  lines) 

12 

6  „ 

Per  inch,  single 

col. 

(3  to  page) 

■ 

5 

0  ,,  insertion 

WILLIE 

DAVIES 

KINEMA  ART  EXPERT , 

161a,  HIGH  STREET, 
KENSINGTON,  S.W. 

Latest  Super  Productions  : — ■ 

“Carnival.”  “Bohemian  Girl.” 
“  Love  in  a  Whirlwind.” 


2 


January  27,  1923 


THE  MOTION  PICTURE  STUDIO 


THE 

MOTION 

PICTURE 

STUDIO 

Editorial  and  Advertisement  Offices : 

93,  LONG  ACRE,  LONDON,  W.C.2. 


Telephone  : 
Gerrard 

9870 


Telegrams  : 
Southernwood, 
Rand,  London 


Vol.  2.  No.  86.  January  27,  1923 

Shorter 

Pictures 

EVERYTHING  points  to  a  growing  and. 

1  welcome  disposition  on  the  part  of 
the  exhibitor  to  regard  the  film  of  less  than 
five  reels  as  something  more  than  a  cheap 
“  fill-up  ’  ’  ;  and  we  sincerely  hope  that 
this  will  increase,  as  until  such  short  pro¬ 
ductions  are  seriously  regarded  as  possible 
features  by  those  who  book  them,  there 
will  be  little  or  no  encouragement  for  those 
who  can  make  them.  No  music-hall 
syndicate  would  book  a  single  big  vaude¬ 
ville  star  and  fill  up  his  program  with 
cheap,  nasty  and  unviewed  “  turns  ” — 
unless  he  were  blind  to  the  best  interests 
of  his  own  business.  Why  should  such 
a  procedure  be  still  the  prevailing  custom 
among  a  large  proportion  of  exhibitors  of 
films  ? 


Art  a  Business 
Ally 

YY/E  intend  to  deal  more  fully  with  the 
VV  absurd  standardisation  of  the  length 
of  the  ordinary  feature  on  another  occasion. 
For  the  present  we  will  content  ourselves 
by  deploring  the  inartistic  result  of  making 
footage  irrespective  of  the  story  s  proper 
scope.  A  padded  story  may  suit  those 
who  cling  to  the  delusion  that  a  picture 
ought  to  be  3,000  feet  long  to  be  worth 
reviewing  ;  but  the  disappointment  caused 
by  a  story  drawn  out  to  exasperating 
dreariness,  which  might  have  been  crisp 
and  pungent  in  two  or  three  reels,  is  a 
sharp  reminder  that  bad  art  means  bad 
business.  We  are  not  in  the  least  advocat¬ 
ing  a  decline  in  the  number  of  five-  and 
six-reel  subjects.  They  will  always  be  on 
hand  and  always  should  be  ;  but  we  are 
convinced  that  the  compression  of  a  story 
into  five  reels  when  it  ought  to  be  eight 
reels  is  nearly  as  bad  as  the  attenuation 
into  five  reels  of  two  or  three  reels  of  story. 
The  standardisation  by  footage  is  what  we 
object  to  as  being  artificial  artistically,  and 
hampering  to  the  creative  end  of  the  in¬ 
dustry. 


Hollywood 

Reformers 

''THERE  are  so  many  arguments  in 
defence  of  wishing  that  this  country 
were  America  so  far  as  picture-making  is 
concerned  that  we  cannot  avoid  a  feeling 
of  special  thankfulness  when  we  come 
across  any  circumstance  calculated  to  give 
us  consolation  in  spite  of  all.  We  applaud 
the  efforts  of  the  vigilant  anti-drug 
crusaders  in  Los  Angeles  and  neighbour¬ 
hood.  Publicity  of  a  grossly  dispropor¬ 
tionate  kind  has  created  an  utterly  false 
impression  regarding  the  alleged  drug 
traffic  in  the  Western  studio  area  ;  and 
private  investigation  has  revealed  the 
interesting  fact  that  among  the  hundreds 
of  photo-players  m  Southern  California, 
less  than  a  dozen  are  known  to  have  been 
addicted  to  the  use  of  drugs.  We  are 
satisfied  that  the  impression,  current  in 
many  quarters,  that  the  habit  is  common 
to  the  members  of  the  profession  is  the 

wildest  exaggeration. 

*  *  * 

No  Smoke 
Without  Fire 

\2ET  this  discreditable  side  of  the 
American  industry  cannot,  we  fear, 
be  smothered  into  obscurity.  The  recent 
end  of  a  popular  and  able  actor  and  the 
uncontradicted  scandal  attaching  to  others 
is,  we  regret  to  say,  evidence  that  the  need 
for  rigorous  investigation  and  drastic 
measures  is  no  newspaper  scare,  and  we 
endorse  all  the  efforts  of  those  who  are 
trying  to  stamp  out  this  scourge.  At  the 
risk  of  appearing  controversial,  we  give  it 
as  our  honest  opinion  that  the  institution 
nominally  known  as  Prohibition  is  directly 
responsible.  The  warmest  advocate  of 
total  abstinence  cannot  deny  the  appalling 
growth  of  illicit  drinking  and  drug-taking 
that  has  followed  the  public  ban  in  the 
States  on  the  sale  of  alcohol,  and  those 
who  are  engaged  in  trying  and  arduous 
temperamental  work  who  also  happen  by 
virtue  of  their  calling  to  loom  largely  in 
the  public  eye,  can  hardly  expect  to  be, 
as  a  class,  immune  from  the  demoralisation 
which  the  fanatic  perpetuation  of  a  war¬ 
time  measure  has  wrought. 

*  *  * 

The  Prestige  of 
the  Profession 

'THE  reputation  of  film-players  the  world 
over,  however,  is  affected  adversely 
by  these  pitiful  disclosures,  and  the  un¬ 
thinking  outsider  may  well  be  excused, 
after  reading  lurid  Sunday  newspapers,  for 
tarring  the  whole  industry  with  the  same 
brush.  We  do  not  believe  that  the 
American  screen  actor  is  any  whit  less 
irreproachable  than  his  fellow-citizen  in 
other  walks  of  life.  Nevertheless  we  feel  a 
sense  of  pride  in  the  fact  that  the  British 
picture-making  industry,  whatever  its 
alleged  shortcomings,  is  at  least  free  from 
this  misleading  and  exaggerated  but 
thoroughly  unsavoury  reproach. 


The  Kinema 
Club  Anniversary 

"■pHE  close  of  the  first  twelve  months 
of  the  existence  of  the  kinema  Club 
finds  that  body  a  lusty  bantling  indeed. 
Formed  by  a  handful  of  incurable  optimists 
at  a  singularly  inauspicious  moment  in 
the  chequered  history  of  British  produc¬ 
tion,  it  has  during  its  first  year  of  existence 
weathered  more  than  one  storm  of  adversity 
which  threatened  its  seaworthiness.  It 
can  with  safety  claim  to  have  achieved 
much.  Its  influence  has  been  exerted 
invariably  for  good,  and  its  advantages  are 
now  such  that  no  one  with  the  qualification 
of  membership  can  really  afford  to  remain 
aloof  from  its  fold.  To  those  who  have 
worked  and  are  working  to  make  the  Club 
the  unique  and  powerful  factor  in  British 
filmdom  it  rightly  claims  to  be,  the  industry 
is  under  an  inexpressible  obligation.  It 
has  only  to  continue  and  to  grow  in  the 
spirit  by  which  it  is  now  animated  to 
become  one  of  the  weightiest  organisations 
in  the  world.  Its  members,  judging  by 
the  very  real  interest  displayed  at  the 
Annual  General  Meeting  last  Sunday, 
are  resolved  to  preserve  its  essentia! 
character. 


The  Olympia 
Exhibition 

I  ’HERE  might  be  something  to  be  said 
for  the  advertisement  British  pro¬ 
duction  would  have  gamed  by  being 
represented  at  the  Kinema  Exhibition 
which  was  held  at  Olympia  in  the  summer, 
but  it  is  doubtful  whether  any  real  benefit 
from  such  display  would  have  accrued. 
The  public  would  expect  to  be  taken 
“  behind  the  scenes,”  but  their  admission 
money  would  not  be  diverted  into  the  film¬ 
making  business  at  all.  There  is  also  a 
strong  feeling  that  the  art  of  the  screen 
would  be  damaged  by  showing  the  public 
“  how  it  is  done  ” — a  policy  against  which 
the  legitimate  stage,  realising  the  value  of 
preserving  dramatic  illusion,  wisely  sets  its 
face. 


Fresh 

Finance 

XTEITHER  do  we  agree  with  the  sugges- 
^  tion  that  fresh  capital  would  have 
been  enticed  into  the  business  by  such 
window-dressing.  Investors  are  shy  of 
most  projects  in  these  difficult  times,  but 
we  firmly  believe  that  a  good  producing 
proposition  in  the  right  hands  is  not  so 
forlorn  that  no  finance  can  be  obtained, 
except  by  public  touting.  On  the  other 
hand,  if  capital  were  sought  by  the  wrong 
people  the  Olympia  Exhibition  would 
probably  have  been  one  of  the  most  fruitful 
hunting-grounds.  So,  on  the  whole,  one 
does  not  view  the  postponement  sine  die 
of  the  exhibition  with  great  regret. 


3 


THE  MOTION  PICTURE  STUDIO 


January  27,  1923 


<?pi/pral  Directors  have  explained  to  us  the  difficulty 
they  have  of  Cetting  quickly  into  touch  with  art'S'es 
j  nthpri  whom  they  need  for  their  productions,  and 
have  suggested  that  we  publish  addresses  and  telephone 
numbers  of  such.  _ 


ASHTON,  CHARLES  Crantock,  Hainault 
Road,  Leyionstone,  E.,  or  Kinema  Club 

ATWOOD,  ALBAN :  25,  Stanley  Crescent, 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.11.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercorn  Place,  N.W. 
Hampstead  3(J83 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS.  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

CAREW,  JAMES,  15,  Burleigh  Mansion, 
Charing  Cross  Road,  W.C.2.  Gerrard  3904 

CHF.SNEY,  ELIZABETH  :  do  Miss  Mcrris, 
25,  Clevedon  Gardens,  W.2.  (Flat  4j. 
Padd.  5844. 

DARLEY,  BERT,  Kinema  Club,  9,  Great 
Newport  Street.  Regent  630. 

D’ESTERRE,  C.  A.,  13,  Fawcett  Street, 
Redcliffe  Gardens,  SAV.10  ’Phone : 
Kensington  4003. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnysidc 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.i  1.  Park  2077. 

ESMOND,  ANNIE,  43,  Richmond  Road, 
Westbouine  Grove,  W  2.  Park  854. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

HARRIS,  GEORGE,  33,  Torrington  Square, 
W.C.l. 

HATTON,  MERCY,  55,  Rutland  Park 
Mansions,  Cricklewooo,  N.W.  2.  ’Phone. 
Willesden  1409 

HOPE,  MARGARET,  Character  and  Juvenile 
Leads.  Late  Ideal,  Masters,  Stolls,  etc., 
etc.,  3,  Balcombe  Street,  Dorset  Square, 
N.W.r.  Padd.  2284. 

HOWARD,  LIONELLE  :  108,  Alderbrook 
Road,  Balham,  S.W.12. 

HUNTER,  ALEX.  G.,  222,  Camberwell 
New  Road,  S.E. 

JONES,  T.  ARTHUR:  “High  Tor," 
Summer  Road,  Hampton  Court. 

KAYE,  FREDA,  care  of  The  Kinema  Club, 
9,  Gt.  Newport  St.,  W.2.  Reg.  630. 

LE  BRETON,  FLORA  :  34  Nevem  Square, 
S.W.5.  Western  1936 

LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977. 

O’NEILL,  EDWARD,  13,  The  Avenue,  St. 
Margaret's-  on-Thames, 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

PAXTON,  SYDNEY:  28,  Bedford  Place, 
Russell  Square,  W.C.  Museum,  7235. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell,  S.E. 5. 


RAYNER,  MINNIE:  Kingwater  Cottage, 
Church  Walk,  Thames  Ditton. 

RAYNOR,  ALBERT  E.,  “  Strathmore,” 
Spencer  Road,  Chiswick,  W.4. 

ROME,  STEWART  :  10,  Chisholme  Road, 
Richmond.  Surrey. 

SEARLE  DONALD:  32.  Lauderdale  Mans. 
Maida  Vale.  Maida  Vale  2177, 

SHEE,  FLORENCE:  221,  Elgin  Avenue, 
W.9.  Messages  Paddington  6036. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres- 
cent.  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  15,  Grove 
Mansions,  North  Side,  Clapham  Com¬ 
mon  12.  Latchmere  4343. 

STEERMAN  A.  HARDING  :  56  Portland 
Road,  W.n.  Park  2529. 

STERROLL,  GERTRUDE:  14.  Queen’s 
Road.  St.  John’s  Wood,  N.W. 8 

TEMPLETON,  BEATRIX:  20,  Foxglove 
Street,  Wormholt  Estate,  W.  12. 

THATCHER,  GEORGE:  33,  Denbigh 
Street,  Belgrave  Road,  S.W.  Victoria 
2060. 

TOD  MALCOLM,  The  Kinema  Club,  9, 
Gt.  Newport  St.,  W.C. 2. 

TREE,  MADGE:  15,  Lancaster  Court,  New- 
man  St.,  W.i.  Museum  7241. 

VIOLETTE,  MURIEL:  147,  Alderney  Street, 
South  Belgravia,  or  Kinema  Club.  Regent 
630. 

WALCOTT,  ARTHUR:  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  V/. 2.  Regent  630. 

WILLIS,  HUBERT,  Mrs.,  29,  St.  Peters 
Square,  W.6.  Hammersmith  85. 

YORK,  CECIL  MORTON:  Kinema  Club, 
9,  Great  Newport  Street.  Regent  630. 

Two  Lines,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a  year,  prepaid. 

Extra  lines,  is.  per  insertion. 


“  'yHE  most  useful  column,  to  my  mind, 
and  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  is  ‘Who’s 
Where.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.  ’  ’ 
CH ALLIS  N.  SANDERSON. 

“  T  PERSONALLY  would  like  to  see 
more  artistes  using  vour  space  under 
the  heading  of  ‘  Who’s  Where.’  ’’ 

H.  B.  PARKINSON. 
11  'T’HE  column  which  is  of  most  service 
to  us,  and  which  I  think  could  be 
further  developed,  is  ‘Who’s  Where.’  ” 
NORMAN  WALKER  (Capt.),  Alliance  Films. 


To  Kinema  Club  Members  and  others  — 

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4 


January  27,  1923 


THE  MOTION  PICTURE  STUDIO 


HIGH  LIGHTS 


Intimate  Studio  and  Club  Gossip 


T^e  are  glad!  to  be  able  to  announce 
that  W.  P.  Kellino  has  joined 
Stoll’s,  whom  we  congratulate  on  hav¬ 
ing  secured  so'  able  a  producer. 

Kellino  begins  on  Monday  next,  but 
tells  me  his  story  is  not  yet  fixed. 
Within  the  next  few  days  details  of 
his  first  production  will  probably  be 

forthcoming  for  official  publication. 

*  *  * 

K  ellino  has  spent  most  of  his 

life  in  the  motion  picture  in¬ 

dustry,  and  will  be  remembered  in 
connection  with  Homeland  Produc¬ 
tions  and  the  Billy  iMerson  comedies. 
During  his  association  with  Gaumont 
— which,  by  the  way,  was  recently 
terminated  in  the  friendliest  fashion — 
he  directed  “Class  and  No  Class,” 

“The  Fortunes  of  Christina  McNab,” 
“Saved  from  the  Sea,”  “The  Fording- 
ton  Twins,”  “A  Soul’s  Awakening,” 
and,  of  course,  “Rob  Roy.”  At 
Stoll’s  his  cameraman  will  be  Basil 
W.  G.  Emmott. 

*  *  * 

Jpilms  apparently  set  fashions. 

Fairbank’s  “Robin  Hood”  head- 
geaig  we  are  solemnly  assured,  is 

being  used  as  a  model  for  the  very 
last  words  in  hats,  obtainable  already 
in  suede  and  other  materials.  Thus 
is  public  interest  in  English  history 
stimulated. 

*  *  * 

Qaumont’s  production  of  “The 
Fires  of  Fate”  promises  to  be 
an  ambitious  one.  An  advance  party 
are  leaving  at  once  for  Egypt,  where 
most  of  the  exteriors  will  be  shot,  and 
Tom  Terriss  is  taking  certain  mem¬ 
bers  of  the  Shepherd’s  Bush  studio 
staff  with  him.  Wanda  Hawley,  the 
popular  and  charming  American  star, 
i  ■.  on  her  way  to  appear  in  this  picture, 
and  a  male  lead  has  also  been  obtained 
from  the  States  in  the  person  of  Nigel 
Barrie.  The  British  members  of  the 
cast  include  David  Hawthorne,  Percy 
Standing  and  Douglas  Munro.  Terriss 
expects  to  be  away  from  ten  to  twelve 
weeks. 

*  *  * 

( *  eorge  Riagwell  is  completing 
“Silver  Blaze  ”  this  week,  and 
the  next  Sherlock  Holmes  two- 
reeler  will  be  “The  Speckled  Band.” 


Lewis  Gilbert  is  to  play  Dr.  Grimesby 
Rylott,  the  part  made  famous  by  Lyn 
Harding  and  Cynthia  Murtagh  is 
engaged  for  the  leading  girl.  “The 
Speckled  Band  ”  will  be  followed  by 
“The  Engineer’s  Thumb.” 

*  *  * 

B.  Samuelson  rushed  his 
“  Royal  Divorce  ”  company  to  the 
Austrian  Tyrol  to  depict  the  Retreat 
from  Moscow  the  other  day,  and  back 
again  to  England  for  the  burning  of 
that  city.  A  review  of  the  picture 

will  appear  in  our  next  issue. 

*  *  * 


^ony  Fraser,  according  to  a  brief 
postcard,  is  also  in  Austria. 
en  route  to  Italy  and  Sicily.  He  does 
not  expect  to  be  back  for  several  1 
weeks. 

*  *  * 


^ he  Famous  Players-Lasky  experi¬ 
ment  of  production  in  Germany  I 
has  been  abandoned  as  a  failure. 
This,  coupled  with  the  similar  cessa¬ 
tion  at  Islington  nearly  twelve  months 
ago,  makes  those  in  the  British 
industry  wonder  why  this  powerful 
organisation  finds  these  ventures  un¬ 
satisfactory.  If  it  is  a  matter  of  pro¬ 
ducing  too  many  pictures  and  thereby 
overloading  the  releasing  schedules, 
why  were  the  foreign  enterprises  ever 
begun  ? 

*  *  * 


alter  West  is  taking  the  final 

exterior  scenes  of  “The  Lady 
Trainer  ”  at  Epsom  this  week. 
Violet  Hopson  has  happily  recovered 
sufficiently  from  her  recent  spill  to  t 

resume  work. 

*  *  * 

M  iles  Mander  called  in  on  me  I 
this  week.  He  tells  me  that 

“The  Man  Without  Desire”  is  now 
being  cut  and  assembled  by  Adrian 
Brunei,  the  producer.  The  cosmo-  ! 
politan  character  of  this  Atlas-Biocraft 
picture  seems  assured.  The  heavy  J 
lead  is  an  Italian  actor  of  note,  Sergio  ! 
Mari  ;  the  leading  lady,  Nina  Vanna, 
is  Russian.  It  was  “shot”  vi  four 
different  countries.  Dorothy  Warren 
plays  a  sinister  lady,  and  Chris 

Walker  an  old  alchemist.  Mander 
informed  me  that  Ivor  Novello,  who 
went  direct  to  D.  W.  Griffith  on  com¬ 
pleting  the  leading  role  in  this  picture, 
is  coming  back  under  contract  later 


* 

to  work  in  subsequent  Atlas-Biocraft 
pictures. 

*  *  * 


pVed  Wright’s  friends — and  they 
include  everybody  in  the  stage 
and  film  worlds. — will  be  glad  to 
hear  that  he  is  now  making  good 
progress  after  his  recent  illness.  .Sir 
Alfred  Fripp  performed  the  operation, 
and  Freddie  hopes  within  the  next  few 
days  to  be  well  enough  to  go  into  the 
country  to  recuperate1.  But  he  is  not 
going  on  a  walking  tour — even  if  the 
car  breaks  down  ! 


*  *  * 


jyTaurice  Tourneur,  who  was  over 
here  some  months  ago  work¬ 
ing  on  exteriors  for  “The  Christian,” 
writes;  from  Hollywood  to  tell  me  that 
while  in  this  country  he  “came  to  the 
conclusion  that  British  criticism  was 
a  factor  which  American  producers  had 
to  consider.  The  importance  of  the 
British  market  for  the  American  pro¬ 
ducer  obliges  us  to  be  very  careful  in 
giving  the  production  the  proper  at¬ 
mosphere.  We  can  no  longer  film  an 
English  story  in  New  York  or  Cali¬ 
fornia.  An  English  story  filmed  in 
Hollywood  would  have  as  little  of  the 
proper  atmosphere  as  a  wild  and  wocllv 
Western  picture  wmuld  have  filmed  in 
I  slington.” 

*  *  * 


ust  so  !  Only  it  s  taken  them  quite 
a  while  to  discover  it.  I  wonder 
what  Tourneur  thinks  nowadays  of  the 
“atmosphere  of  “Sporting  Life,”  for 
instance.  Which  reminds  me — thougdi 
it  hasn’t  much  to  do  with  the  subject, 
• — that  once  I  nearly  got  a  job  in  Los 
Angeles.  A  director  had  made  a  pic¬ 
ture  from  a  British  story,  and  some  of 
the  scenes  were  laid  in  Piccadilly.  He 
got  the  location  and  its  details  fairlv 
accurate  after  an  intensive  study  cl 
photographs  and  London  illustrated 
papers.  But  when  the  film  was  run 
through  for  the  first  time  a  precise- 
minded  Britisher  —what  sticklers  they 
are  for  little  things — pointed  out  to  the 
director  that  the  traffic  was  running 
on  the  wrong  side  of  the  road  !  Soon 
after  the  same  director,  through  his 
agent  here,  asked  me  to  goi  out  as 
British  technical  adviser,  but  as  he 
didn’t  make  nearly  enough  noise  in 
dollars  I  didn’t  hear  the  offer  ! 


fl 


(\AJU2tbjyV- 


THE  MOTION  PICTURE  STUDIO 


January  27,  1923 


Elizabeth  on  the  Screen 


Some  Details  of  the  Settings  and  the  Robes  Used 


VEX  to  many  of  those  in  the  Industry 
the  enormous  extent  of  the  work  to 
be  done  on  an  ordinary  present-day  pic¬ 
ture  is  only  partly  realised.  How  much 
more  is  necessitated  by  a  big  historical 
screen  romance  is  only  appreciated  by 
those  who  halve  first-hand  experience  of 
the  obstacles  to  be  surmounted  and  the 
research,  to  be  made. 

The  setting's  of  “The  Virgin  Queen” 
are  almost  entirely  actual  ones  on  spots 
hallowed  bv  association  with  history. 
Beaulieu  Abbey,  where  two-thirds  of  the 
picture  was  “shot  ”  by  J.  Stuart  Blackton, 
dates  back  tO'  1204,  and  is  still  in  ex¬ 
cellent  preservation.  Other  scenes  were 
taken  at  Temple  Mewsam,  in  Yorkshire, 
which  still  affords  ideal  backgrounds  for 
the  film-maker  who  is  out  for  the  best 
possible  natural  setting  of  the  Elizabethan 
age. 

The  most  striking  fact  respecting  the 
interior  scenes  is  that  they  were  not  made 
in  a  studio,  but  with  artificial  lighting 
installed,  often  with  much  difficulty,  in 
the  ancient  apartments  of  Beaulieu  and 
Temple  Mewsam.  Their  authenticity  is 
therefore  assured,  and  strange  must  the  | 
struttings  and  emotions  of  pre¬ 
sent-day  film  players  have 
seemed  to  the  ghosts  of  the 
past  who  cling  to  their  old 
haunts ! 

Assiduous  and1  laborious  re¬ 
search  alone  can  determine  the 
correctness  of  such  item,s  as 
furniture,  hangings,  utensils, 
food,  ornament,  vehicles,  har¬ 
ness  and  river  boats. 

The  costumes  are,  of  course, 
a  vast  undertaking  alone. 

All  the  dresses  were  designed 
by  Mrs-  Blackton,  _jyife  of  the 
producer,  who  has  done  much 
artistic  work  along  many  lines 
and  assisted  her  husband  for 
rears  in  his  film  productions. 

She  has  been  at  work  over  a 
year  studying  all  the  historical 
data  on  costumes  of  the  Eliza¬ 


bethan  period  available  in  the  London 
museums  and1  libraries.- 

The  costumes  worn  by  Ladv  Diana 
as  the  Princess  and  Queen  Elizabeth,  and 
those  worn  by  the  other  players  in  his¬ 
torical  characters,  are,  in  many  cases, 
designed  in  detail  after  portraits  painted 
at  the  Court  of  Queen  Elizabeth. 

The  Virgin  Queen  was  fond  of  pearls, 
both  as  jewels  and  as  dress  decoration, 
and  most  of  the  14  gowns  worn  by  Lady 
Diana  as  Queen  Elizabeth  are  profusely 
trimmed  with  pearls. 

The  following  is  a  description  of  some 
of  the  most  attractive  costumes  in  “  The 
Virgin  Queen  ”  : 

Coronation  Robe. — This,  is  made  of  25 
yards  of  cloth  of  gold  studded  with  12,000 
pearls  with  ermine  collar.  With  this  is 
worn  the  State  mantle  of  cloth  of  gold, 
lined  with  ermine.  During  the  crowning 
of  Queen  Elizabeth  she  wears  a  cere¬ 
monial  cape  of  cloth  of  gold  embroidered 
with  Tudor  roses  and  white  falcons. 

Costume  worn  on  the  royal  barge. — 
Rose-coloured  brocaded  velvet  with  a  panel 
of  cloth  of  silver  studded  with  pearls-  She 
carries  a  large  feather  fan. 


Garden  frock,  after  Holbein. — Gold  and 
brown  and  yellow  brocade  damask  satin 
embroidered  with  silver  and  Chinese  blue. 

Riding  habit  of  brown  velvet,  trimmed 
with  gold  and  sable  tails.  Hat  of  brown 
velvet  with  sable  tails  and  a  veil  of 
champagne-coloured  gauze. 

A  gown  of  orchid  velvet  and  cream 
satin  petticoat  with  squares  of  pearls  and 
gold  thread  embroidery,  lace  collar  set 
with  pearls,  headdress  of  lace,  pearls  and 
amethysts. 

The  Council  Chamber.  — Reproduction 
of  a  gown  shown  in  a  painting  copied  in 
a  volume  on  Elizabeth  by  Bishop  Creigh¬ 
ton.  This  is  of  amber  velvet  with  petti¬ 
coat  and  sleeves  of  interlacing  of  silver 
studded  with  pearls.  There  is  a  founda¬ 
tion  of  a  petticoat  of  a  pale  blue 
satin  trimmed  with  medallions  of  sap¬ 
phires  and  emeralds.  The  skirt  is  8 
yards  wide  and  edged  with  a  five-inch 
band  of  embroidery?  and  stones.  This 
dress  contains  288  yards  of  silver  braid 
and  is  threaded  with  over  6,000  pearls. 

A  dressing-robe  of  cream-coloured  vel¬ 
vet  embroidered  with  Tudor  roses  and 
with  an  ermine  collar.  This  is  a  gown  of 
soft,  clinging  draperies. 

The  gowns  worn  on  the 
various  State  occasions  by 
Queen  Elizabeth  are  copied 
from  portraits  painted  by 
contemporary  artists. 

Norma  Whalley  as  the 
Countess  of  Lennox,  the 
Queen’s  cousin,  wears 
some  magnificent  costumes, 
as  do  also'  the  two  favourite 
ladies-in-waiting  to  the 
Queen,  played  by  Marion 
and  Violet  Virginia  Black¬ 
ton.  Garble  Blackwell  as 
♦he  Queen’s  favourite,  Lord 
Robert  Dudley,  and  Hubert 
Carter  as  Sir  William, 
Cecil’s  Secretary  of  State, 
wear  some  very?  elegant 
costumes  showing  fashions 
of  courtiers  of  the  period. 


fl)  The  Coronation  of  Queen  Elizabeth.  (2)  Elizabeth  and  Dudley.  (3)  J.  Stuart  Blackton 

directing  a  scene. 


January  27,  1923 


THE  MOTION  PICTURE  STUDIO 


Reconstructing  British  Production 

I. — Developing  an  Individuality 


JpIRST  among  the  handicaps  under 
which  film  production  in  this  country 
is  suffering  is  that  involved  in  the  ques¬ 
tion  of  cost  in  relation  to  return.  On  the 
whole,  the  market  for  British  produc¬ 
tions  is  restricted  to  the  United  Kingdom, 
and  because  of  the  comparatively  small 
number  of  kinemas,  it  is  accepted  bv 
most  producing  organisations  as  a  work¬ 
ing  basis  that  pictures  must  be  produced 
cheaply  because  of  the  small  market. 

Even  when  the  cost  of  production  is 
based  on  the  home  market,  it  still  has  to 
be  low,  because,  by  reason  of  the  com¬ 
petition  of  American  pictures,  good  prices 
cannot  be  obtained. 

That  is  the  theory. 

,  But  how  far  is  it  a  fact? 

It  is  true  that  because  of  her  large 
home  market  America  can  put  pictures 
into  other  countries  at  prices  which  under¬ 
cut  the  native  product — if  any.  It  is  also 
true  that  she  imports  to  this  country 
alone  more  film  (negative  and  positive, 
and  excluding  raw  stock)  in  one  year  than 
we  produce  in  twenty. 

Tariff  Disadvantages 

How,  then,  with  America  in  this  supe¬ 
rior  economic  position — a  position  which, 
for  obvious  reasons,  can  never  be  reached 
by  any  other  country — can  we  compete 
with  her  in  the  world’s  markets? 

Tariffs  have  been  suggested,  the  im¬ 
position  of  taxes  which  will  make  it  im¬ 
possible  for  the  importer  of  foreign  films 
to  undersell  the  British  producer. 

Subsidies  in  various  forms  have  also- 
been  suggested. 

But  both- — which  in  effect  amount  to 
the  same  system — have  very  serious  draw¬ 
backs. 

They  are  open  to  the  objection  that  they 
would  artificially  increase  the  cost  of  pic¬ 
tures  to-  the  exhibitor,  and,  consequently, 
to  the  public ;  that  they  would  decrease 
rather  than  encourage  the  development 
of  better  production  in  this  country,  and 
that  (hey  would  put  the  British  producer 
in  a  position  in  which  he  would  be  able 
to  put  on  the  market  an  inferior  product 
because  he  was  protected  from  competi¬ 
tion- 

Getting  Into  America 

Another  plan,  involved  in  the  theory 
that  the  future  of  production  in  this  coun¬ 
try  depends  on  being  able  to  get  into  the 
American  market,  is  to  import  American 
stars  and  directors  and  make  pictures  of 
the  type  which  America  is  (herself  pro¬ 
ducing. 

The  serious  defect  in  this  plan  is  first 
that  America  can  in  almost  every  case 
absorb  either  stars  or  directors  whose 
work  and  names  have  a  real  box-office 
value ;  and  secondly,  that  she  is  already 
producing  more  pictures  of  her  own  type 
than  she  needs. 

It  is  to  be  feared  that  our  producers 
have  not  given  sufficient  thought  to  the 
possibilities  of  the  European  market. 


by  FRANK  A.  TILLEY 

They  are  obsessed  with  the  need  for 
“getting  into  America.”  Yet  most  of 
the  countries  of  the  Continent  take  a 
large  number  of  American  films,  in  spite 
of  the  fact  that  by  tradition  and  culture 
as  well  as  by  proximity,  they  are  much 
nearer  to  us  in  tastes  than  they  are  to 
the  United  States 

Of  course,  the  factor  of  America’s 
economic  position  operates  here  also,  but 
there  is  a  vital  difference. 

New  Standards 

If  there  were  developed  in  this  country 
a  standard  of  production  which  had  for 
its  main  idea  not  only  the  tastes  of  our 
own  people,  but  also  those  of  the  rest  of 
Europe,  it  should  be  possible  to  find  a 
much  wider  field  of  distribution,  than  we 
have  at  present,  while  leaving  America 
out  of  consideration,  except  as  a  market 
for  an  occasionally  outstanding  film  of 
extreme  merit  or  interest. 

The  chief  thing  which  operates  at  the 
present  time  against  such  an  attempt  is, 
of  course,  the  condition  of  the  exchanges, 
but  this  is  not  to  be  regarded  as  a  per¬ 
manent  condition  nor  as  a  reason  for 
refusing  to  make  the  attempt. 

Copying  America — especially,  it  is 
necessary  to  repeat,  because  of  her  supe¬ 
rior  economic  position — appears  to  be  a 
hopeless  method.  Making  for  our  own 
market  alone  is  equally  bad,  because  it 
stultifies  development..  It  appears  that 
the  real  remedy  is  to-  build  up-  a  standard 
— a  different  and-  unique  standard — of 
native  production  ;  to-  copy?  no  one,  to  make 
British  pictures  in  .a  wide  human  sense 
instead  of  a  parochial  sense  ;  in  a  word, 
to  develop  a  British  screen  art  which  shall 
have  a  large  place  and  a  permanent  place 
in  the  world’s  film  production. 

What  Others  Have  Done 

To  some  extent  Sweden  has  done  it; 
but  just  as  she  has  got  away  from  the 
fault  of  being  too  national  she  is  develop¬ 
ing  the  other  fault  of  being  too-  inter¬ 
national.  We  can,  if  real  effort  and 
serious  thought  is  given  to  it,  steer  be¬ 
tween  these  two  roads,  and  produce  pic- 

I  FRONT  PAGE  j 

| 

]  VACANT 

|  FEB.  10  | 

|  Price  £6  :  10  :  0  I 

1 

( Blockmaking  extra).  1 

|  --  i 

See  Jimmy  Sloan  about  it. 

I 


1  tures  which  will  be  different  and  which 
will  be  wanted. 

Germany  also  succeeded  in  part,  but 
only  with  a  few  of  her  more  ambitious 
pictures.  These  were  German — and  yet 
not  so'  foreign  to  other  peoples  as  to  be 
without  interest.  She  has  achieved  what 
little  she  has  done  in  this  respect  by 
using  foreign  themes,  as,  for  example, 
“Anne  Boleyn  ”  and  “  Dubarry,”  and  the 
subjects  are  coloured  with  her  own  view¬ 
point  and  temperament. 

There  is,  I  believe,  the  right  idea  be¬ 
hind  such  methods,  but  it  is  a  long  way 
behind,  and  has  got  on  the  wrong  track 
in  its  working  out.  For  while  the  trans¬ 
lation  of  one  nation’s  history  by  another 
nation  may  be  nearer  the  truth  and  less 
biased,  it  is  sure  to  contain  certain  pre¬ 
judices  and  reactions  on  the  part  of  the 
producing  nation  that  will  be  offensive 
or  at  least  distasteful  to  the  people  of 
the  countrv  whose  historical  or  national 
episode  is  dealt  with. 

A  French  Example 

Leaving,  for  the  moment,  the  better 
and  less  typical  American  pictures  out  of 
consideration,  I  should  be  inclined  to  sug¬ 
gest  that  the  best  examples  of  pictures: 
which  are  at  once  national  and  yet  so1 
full  of  the  interests  of  common  humanity 
that  they  appeal  everywhere  have  been 
produced  in  France. 

Take,  as  an  example,  “The  Three 
Musketeers.”  Here  was  a  picture  of  a 
French  subject  and  French  in  spirit,  but 
which  contained  elements  of  drama  and 
romance  of  a  universal  (I  hate  the  word, 
but  there  is  no  other  with  quite  the  same 
meaning)  appeal.  But  the  American 
version  was  something  less  than  a  hybrid. 
It:  was  not  even  a  French  subject  tinged 
with  the  American  outlook.  It  was  a 
perversion  which  could  only  appeal  to  the 
ignorant  “melting  pot”  masses  of  the 
States. 

We  have  an  enormous  mass  of  mate¬ 
rial — stories,  legends,  traditions,  national 
romances  and  history — which  have 
angles  that  concern  and  interest  the 
peoples  of  the  old  world.  Yet  they  have 
been  neglected— they  are  practically  un¬ 
touched.  because  of  the  restricted  out¬ 
look,  not  of  the  people  who  actually  pro¬ 
duce  pictures,  but  of  those  who  are  re¬ 
sponsible  for  their  production. 

The  Commercial  Side 

The  making  of  motion  pictures  must 
necessarily  have  a  large  commercial  ele¬ 
ment.  And  the  trouble  hitherto  in  this 
country  is  not  that  the  commercial  element 
has  been  too  large. 

It  is  that  it  has  been  too  small— men¬ 
tally  and  spiritually,  and  even,  in  a 
fundamental  sense,  commercially.  It 
has  focused  itself  on  one  point,  and  that 
point  is  a  small  one.  If  the  production 
of  pictures  is  to  continue  in  this  countrv 
the  people  responsible  for  them  have  got 
to  open  up,  not  stop  down. 

Or  else  make  wav  for  others  who  can. 


THE  MOTION  PICTURE  STUDIO 


January  27,  1923 


From  Quantity  to  Quality 

George  A.  Cooper,  Recuperated,  again  Co-operates 


/WVFFORD  is  a  “  respectable  ”  and  dig¬ 
nified  suburb.  One  feels  that  the 
careless  West  Ender  and  the  self-indulgent 
City  man  become,  on  arrival  home  here, 
staid  householders  and  often  churchwar¬ 
dens.  Slippers  are  a  matter  of  strict 
routine  and  jumpers  are  knitted  by  the 
thousand.  A  film  studio  in  such  a  setting 
seems  an  intrusion.  It  is  probably  re¬ 
garded  as  such  by  the  denizens.  Yet  it 
is  here  that  George  A.  Cooper,  after  a 
brief  Italian  holiday,  is  again  working, 
soothed  and  perhaps  even  inspired  by  the 
absence  of  heavy  traffic  and  the  sense  of 
distance  from  town. 

On  the  spacious  and  elevated  studio 
floor  George  Cooper  is  discovered.  He  is 
apparently  limp  and  in  a  condition  of 
utter  exhaustion  and  lassitude — but  that 
is  the  great  delusion.  No  more  alert  man 
ever  flattened  down  the  pages  of  a  script. 
He  resembles  a  seaside  invalid  criticising 
the  horizon ;  and  presently  he  gets  up  and 
loiters  about  the  set,  looking  over  it  with 
the  interest  of  a  man  decorating  his  first 
self-contained  flat.  Sydney  Folker  and 
Cyril  Stanborough  are  busy  on  various 
little  finicky  jobs,  and  he  discusses  with 
them  and  with  Terraneau,  the  camera¬ 
man,  the  wisdom  of  what  they  are  doing. 
He  is  seldom  in  doubt  as  to  what  he 
wants,  but  he  never  takes  it  for  granted 
that  he  is  getting  it.  Even  when  he  has 
got  it — which  usually  happens — he  is  dis¬ 
satisfied  unless  other  people  are  getting  it, 
too. 


Here  is  a  man  who  actually  believes 
that  as  the  short  story  often  finds  a  place 
among  the  great  literature  of  the  world, 
the  short  film  may  also  be  in  theory  a 
masterpiece  of  the  producer’s  art.  He 
deliberately  prefers  to  finish  a  film  when 
its  story  is  told  instead  of  padding  it-xout 
to  six  reels — and  is,  moreover,  unashamed 
of  such  revolutionary  theories. 

He  takes  time  and  thought  as  well,  hav¬ 
ing  an  obstinate  conviction  that  these 
things  are  of  importance  in  production. 
It  is  no  use  telling  him  that  the  great 
achievements  of  literature,  painting  and 
music  were  the  result  of  a  strict  time 
schedule — he  knows  better.  Incidentally, 
another  odd  thing  about  Cooper.  He  can 
think  very  hard  without  being  absent- 
minded. 

It  has  sometimes  been  said  by  sociolo¬ 
gists  (who,  possibly,  have  some  obscure 
use  in  the  purpose  of  things)  that  the 
ideal  form  of  government  is  that  of  the 
benevolent  despot.  We  disagree.  In  film- 
making  the  best  form  of  control  appears 
to  be  a  sort  of  consultative  autocracy ;  but 
the  autocrat  has  to  be  made  of  the  right 
material  for  this  to  work  properly. 

The  detail  which  Cooper  studies  in 
Quality  Films  (by  the  way,  we  wish  they 
had  some  better  name)  is  almost  meticu¬ 
lous.  There  was  a  set:  reproducing  ^  dress¬ 
ing  apartment  of  a  spruce  and  dandyish 
French  nobleman.  Cupboards  and  re¬ 
cesses  were  filled  with  hosiery  and  the 
trappings  of  an  immaculate  gentleman, 


ail  in  a  state  of  the  most  paralysing  order¬ 
liness  and  pointing  to  the  existence  of  a 
super-valet.  (Such  a  valet  would  simplify 
a  reform  in  our  own  wardrobe  manage¬ 
ment  considerably.)  On  the  front  of  each 
drawer,  shelf  and  ledge  was  a  tiny  neat 
label,  in  French.  Thus  “  Faux-cols /’ 
“  Mouchoirs “ Calecons ,  ”  “  Pyjamas  ” 
and  even  “  Chemises  ”  (shirts,  of  course). 

Presently  we  met  the  French  nobleman 
himself  in  the  person  of  Jerrold  Robert- 
shaw ;  and  the  super-valet  also,  who  ad¬ 
mitted  freely  that  he  was  Chris  Walker. 
A  scene  or  two  of  the  later  stages  of  the 
nobleman’s  toilet  was  almost  touching  in 
its  sincerity,  and  the  distress  of  Robert- 
shaw  in  detecting  a  sudden  need  for  nail¬ 
polishing  was  as  poignant  as  the  solici¬ 
tude  with  which  Walker  brushed  a  speck 
of  dust  from  his  master’s  coat. 

This  two-reeler,  as  yet  unchristened,  is 
cte  Maupassant  modernised,  and  Daisy 
Campbeil  and  Eileen  Magrath  are  also  ap¬ 
pearing  in  it.  The  next  subject  is  “  The 
Straight  Course,”  which  Cooper  informed 
me  is  a  war  story  without  being  a  war 
story — whatever  that  may  meant. 

Cooper,  w'ho  has  struck  such  a  refresh¬ 
ing  note  of  difference  in  British  produc¬ 
tion,  is  aiming  at  variety  above  everything 
in  his  choice  of  stories,  and  up  to  now  has, 
in  his  brilliant  work,  succeeded  in  avoid¬ 
ing  any  similarity.  Here  is  a  wonderful 
outlet  for  the  writer  of  a  story  with  a 
“  twist  ”  of  originality  either  in  theme  or 
treatment. 


EXECUTIVE 


TERRANEAU 


Colonel 

Jamett 


8 


January  27,  1923 


THE  MOTION  PICTURE  STUDIO 


A  Sensible  Article 


Putting  a 


Stunt  in  its 


Right  Proportion 


JT  is  with  much  pleasure  that  we  con¬ 
gratulate  our  con  tempo-ray,  the  Sun¬ 
day  Illustrated,  upon  its  publication  in 
last  Sunday’s  issue  of  a  page  article  from 
the  pen  of  Bewlav  Morgan,  under  the 
heading,  “Truth  about  the  Lure  of  the 
Screen.” 

We  had  begun  to  despair  of  the  lay 
Press’s  attitude  towards  the  various  mis¬ 
leading  encouragements  to  the  screen- 
struck  girls  and  men  of  Britain.  The 
Talmadge  stunt,  in  spite  of  an  unconvinc¬ 
ing,  but  perhaps  excusable,  defence  this 
week  from  Ralph  J.  Pugh,  has  done  more 
harm  to  the  status  and  prestige  of  the 
British  professional  film-player,  and  given 
greater  encouragement  to  the  “film- 
school  ”  harpies,  than  any  single  similar 
piece  of  Press  encouragement.  Yet  it  is 
not  the  only  one.  The  mysterious  ap¬ 
pearance  of  some  unqualified  intrusive 
amateur’s  portrait  in  the  illustrated  Press 
is  almost  a  daily  occurrence;  and  the 
news  value  of  a  person  of  social  standing 
playing  in  a  film  is  estimated,  naturally, 
without  regard  to  the  delusions  it  is  help¬ 
ing  to  foster.  Even  serial-story  writers 
are  adopting  the  “  gutter-to-screen  ” 
heroine  as  a  standard  type  of  novelette 
puppet. 

The  Sunday  Illustrated  and  Mr.  Morgan 
have  done  a  greater  service  to  fi lmdom  and 
to  the  impressionable  youth  of  the  nation 
than  they  perhaps  realise,  and  we  would 
like  to  see  the  facts  in  the  article  blazoned! 
for  a  month  in  every  newspaper  in  the 
kingdom.  We  give  a  few  extracts- 

“If  all  the  thousands  of  screen-struck 
men  and  maidens  could  meet  together, 
say,  in  Hyde  Park,  the  wiser  among  them 
would  realise  that  the  chances  of  fifty 
thousand  ordinary  people  ever  seeing  the 
names  of  more  than  two-  or  three  of  their 
number  in  twelve-inch  letters  outside  the 
picture  theatres  of  the  world  are  slender 
indeed. 

“Unfortunately,  however,  this  sort  of 
practical  demonstration  of  the  true  posi¬ 
tion  is  impossible,  and,  therefore,  the 
great  army  of  the  screen-struck  continue 
to  live  in  the  hope  that  sooner  or  later 
they  will  be  able  to  forget  the  trials  and 
tribulations  of  everyday  life  in  the  fascina¬ 
tion  and  four-figure  salaries  of  filmland. 

“But  by  far  the  saddest  feature  of  the 
great  film  bubble  is  the  fact  that  all 
over  the  country  tens  of  thousands  of 


screen-struck  people  have  spent  good  1 
money  ‘  studying  ’  for  a  ‘  crowd  ’  part 
at  the  numerous  schools  of  film  acting 
which  sprang  up  four  or  five  years  ago-. 

“For  the  plain  truth  about  the  lure  of 
the  screen  is  that  ninety-nine  out  of  every 
hundred  who  have  invested  in  a  postal  or 
personal  training  course  in  film  acting 
never  had  sufficient  natural  talent — and  in 
film  acting  natural  talent  must  be  the 


We  Look  Forward 
to  the  Day - 

When  agents  will  learn  the  correct  spell¬ 
ing  of  the  names  of  their  own  clients. 


When  Wardour  Street  is  widened. 


When  producers  will  be  asked  to  shoot 
two  reels  per  day. 


When  punctuation  will  receive  attention 
in  British  sub-titles. 


When  artistes  can  obtain  Trade  Show 
tickets  for  films  they  star  in. 


When  the  Censor  insists  on  all  table- 
legs  being  draped. 


When  the  Kinema  Club  celebrates  its 
twenty-first  birthday. 


When  renters  cease  to  claim  credit  for 
production. 


When  every  American  star  is  working 
in  Britain. 


When  every  British  star  will  sail  for 
America. 


When  the  Kinema  Club  Carnival  will 
take  place  at  Olympia. 


When  distributors  appreciate  honest' 
criticism. 


When  they  realise  that  advertising  does 
not  buy  opinions  in  all  cases. 


When  pictures  will  be  created  instead  of 
being  manufactured. 


i  basis  oif  success — to  give  them  the  re¬ 
motest  chance  of  earning  a  living  on  tin 
screen. 

“The  odd  person  in  each  hundred  stu¬ 
dents  has  embarked  on  a  screen  career 
only  to  find  that,  far  from  being  paved 
with  gold,  the  way  of  the  film  player  is 
more  often  than  not  a  />ng,  hard,  uphill 
fight  against  poverty  and  unemployment. 

“  In  case  anv  of  my  readers  should  think 
this  plain  statement  an  exaggeration,  1 
may  mention  here  that  for  months  past 
every  British  screen  studio  which  is  still 
working  has  been  deluged  with  applica¬ 
tions  from  experienced  film  players,  many 
of  them  men  and  women  who  have  played 
‘  leads  ’  in  important  productions — who 
are  now  workless,  and  many  of  whom  are 
giving  up  in  despair  the  idea  of  even 
earning  a  living  wage  as  a  film  artiste. 

“  Some  of  these  players  can  show  a 
record  of  parts  plaved  in  American  studios 
as  well  as  British.  They  have  brought 
back  with  them  the  news  that  there,  as 
here,  there  is  little  or  no  chance  of  a 
steady  income  from  film  acting,  for  the 
man  or  woman  who  does  not  possess 
either  that  mysterious  thing  called  ‘  in¬ 
fluence  ’  or  quite  exceptional  inborn 
natural  genius  too  great  toi  be  overlooked. 

“That  film  acting  is  not  all  roses  is 
constantly  being  proved.  But,  apart  from 
this  aspect  of  the  question,  the  facts 
to-day  are  that,  far  from  offering  a  life 
of  luxury  and  ease  to  every  screen-struck 
person  who  cares  to  decide  upon  a  film 
career,  the  film  industry — like  almost 
every  other  in  this  country — is  suffering 
from  its  own  unemployment  problem-” 

The  glamour  of  the  screen,  we  fear, 
will  not  be  dispelled  by  such  articles,  how¬ 
ever  trenchant  and  truthful  they  may  be. 
But  it  can  be  minimised  if  newspapers 
took  the  British  film  industry"  seriously 
enough  to  see  that  it  is  entitled  to  pro¬ 
tection  rather  than  disparagement.  Their 
own  film  critics  are,  in  most  cases,  per¬ 
fectly  well  aware  of  the  facts  and  would 
corroborate  the  attitude  of  Mr.  Bewlav 
Morgan — if  they"  were  asked. 

There  is,  and  always  will  be,  a  propor¬ 
tion  of  stage-struck  folk  in  our  midst. 
The  immeasurably  greater  number  of 
film-struck  people  is  no  doubt  largely  due 
to  the  greater  influence  and  extent  of  the 
kinema  theatre ;  but  we  also  hold,  those 
who  give  extravagant  publicity  to  their 
various  encouragements  partly  responsible. 


THE  MOTION  PICTURE  STUDIO 


January  27,  192 


Screen  Values 

Measuring  Up  the  Week’s  Product 


The  Virgin  Queen  ” 

J.  Stuart  Blackton  Production  :  Directed 
by  J.  Stuart  Blackton.  Photography  by 
Nicholas  Muscaraca.  Written  by  J.  Stuart 
Blackton  and  Harry  Pirie  Gorden.  Cos¬ 
tumes  designed  by  Paula  H.  Blackton. 
Leading  plaj-ers :  Lady  Diana  Manners, 
Carlyle  Blackwell,  Norma  Whalley, 
Hubert  Carter.  William-  Luff,  A.  B.  line-  1 
son,  Walter  Tennyson,  Violet  Virginia 
Blackton.  Controlled  by  the  Rose  Film 
Co.,  Ltd. 

I  he  Virgin  Queen  ”  has  obviously 
been  produced  at  enormous  trouble  anil 
with  great  care.  Setting's,  dresses,  furni¬ 
ture  and  ceremonial  all  bear  unmistakable 
signs  of  much  research  and  historical 
fidelity.  The  authenticity  of  many  of  the 
scenes  is,  of  course,  in  many  cases  be¬ 
yond  question  owing  to  their  having  been 
“  shot  ”  in  actual  Elizabethan  interiors 
and  exteriors  in  various  spots  in  England. 
As  far  as  authoritative  verisimilitude  of 
the  surroundings  is  concerned  “  The  Vir¬ 
gin  Oueen  ”  is  almost  beyond  reproach. 
Many  of  the  scenes  were  in  addition  quite 
beautiful.  The  coloured  sections  were 
comparatively  infrequent,  but  sorpe  charm- 
ingly  delicate  landscapes  and  one  or  two 
very  striking  phases  of  action  were  given 
a  wonderful  vividness  bv  the  Prizma  pro¬ 
cess.  We  are  of  the  opinion,  however, 
that  it  is  artistically  injudicious  to  vary 
colour  with  monochrome  in  a  picture, 
especially  of  this  sort.  The  mere  fact 
of  transitions  into  and  from  colour  dis¬ 
tracts  from  the  thread  of  the  story  and 
calls  too  much  attention  to  a  technicality 
for  its  own  sake. 

1  his  seemed  to  us  especially  regrettable 
because  the  thread  of  the  story  itself  was 
hardly  gripping  enough  to  stand  even  such 
a  strain.  The  dramatic  licence  which  the 
producer  ftof  historical  romance  is  en¬ 
titled  to  employ  should  first  and  foremost 
be  utilised  in  making  a  smoothly  flow¬ 
ing  story  of  constant  interest.  As  a  piece 
of  continuity  the  picture  has  few  claims 
to  distinction;  the  action  appeared  uneven, 
imperfectly  balanced  and  occasionally 
jumpy.  The  interpolation  of  the  dainty 
colour  landscapes  at  intervals  seemed 
somewhat  irrelevant  without  action.  The 
interest  in  the  personalities  of  the  story  is 
seldom  tense,  and  the  effect  of  dropping  it 
altogether  for  an  occasional  piece  of  colour 
pageantry  tends  to  diminish  it  still  further. 

I  he  undeniably  beautiful  scenes  of  the 
progress  of  the  Royal  barge  to  Wood- 
stock,  for  instance,  are  a  challenge  to  the 
audience  to  admire  them  for  their  ow»n 
sake. 

Mr.  Blackton  has  wisely  refrained  from 
giving  a  comprehensive  survey  of  Eliza¬ 
beth’s  glorious  reign,  but  many  will  be 
disappointed,  especially  after  hearing  the 
spoken  prologue,  that  there  is  no  hint  at 
the  existence  of  Shakespeare  or  the 
Armada.  A  film  of  Elizabeth  naturally 
suggests  the  awakening  of  English  let¬ 
ters  and  the  daring  of  English  adventure. 
The  producer  has  dealt  only  with  the 
■earlier  Lennox  plot  and  the  love  of  Dud¬ 
ley,  which  makes  the  lack  of  complete 


coherence  all  the  more  curious-  If  an 
enormous  footage  were  cut  down  by  some¬ 
one  who  could  not  bring  himself  to  elimi¬ 
nate  entirely  any  single  scene,  we  should 
imagine  that  the  result  would  resemble 
the  continuity  of  “  The  Virgin  Queen.” 

Several  spirited  dramatic  episodes,  how¬ 
ever,  are  carried  through  in  a  masterly 
way.  The  sword  fight  between  Borghese 
and  Hereford  is  capital,  if  a  little  hurried. 
The  fire  rescue  scenes  are  capital,  but  the 
descent  of  Elizabeth  down  a  modern-look¬ 
ing  ladder  seems  rather  an  anti-climax. 

The  lighting  is  far  from  perfect,  due 
most  probably  to  the  interiors  being  actual 
mansions,  where  good  results  are  as  yet 
very  difficult  to  secure  even  by  the  best 
cameraman.  We  consider  the  picture  to 
be  a  strong  argument  against  the  use  of 
real  interiors.  Faithfulness  iis  l^ardly 
Avorth  gaining  at  the  expense  of  clear 
visibility,  and  the  studio  set  is  always  a 
much  more  reliable  thing  to  manipulate 
lights  upon  than  is  the  genuine  room. 
Hardly  ever  in  any  film  have  we  seen  a 
justification  for  the  use  of  portable  light¬ 
ing  in  actual  interiors  outside  the  studio, 
and  in  this  case  the  action  unquestionably 
suffers  thereby.  The  photography  is 
otherwise  sound,  with  occasional  lapses 
into  indifference.  Some  of  the  inaccurate 
focus  effects  are  presumably  deliberate- 

Lady  ,  Diana  Manners’  rendering  iof 
Elizabeth  shows  a  distinct  advance  on  iier 
previous  film  work.  Her  queenly  dignilv 
was  for  the  most  part  placid  rather  than 
austere,  but  her  occasional  outbursts  were 
the  most  convincing,  notably  her  lemper 
after  looking  at  the  portraits  of  aspiring 
suitors.  Carlyle  Blackwell  had  fewi  op¬ 
portunities  for  really  effective  acting,  but 
his  Dudley  Avas  romantic  and  sound  Avith- 
out  being  really  outstanding. 

Violet  Virginia  Blackton  Avas  always 
charming,  but  her  obvious  youth  pre¬ 
vented  her  making  the  part  of  Lettice 
Knollvs  a  living  woman  of  emotion.  Wal¬ 
ter  Tennyson  looked  A\’ell  as  her  lover 
Avithout  expressing  any  real  character. 
Maisie  Fisher  as  Mary  Stuart,  did  not  con¬ 
vince.  Her  immaturity  was  evident  and 
AA’e  should  have  liked  to  have  seen  a  more 
experienced  player  in  this,  the  first  screen 
depiction  of  the  character.  Sir  Francis 
Laking  as  Darnley  was  colourless  in  a 
part  which  AA'as  in  itself  rather  an  inept 
one. 

The  chief  honours  in  “  The  Virgin 
Queen”  must  be  accorded  to  the  British 
players  of  real  experience.  FeAv  of  them 
had  much  opportunity,  but  they  Avere  a 
striking  illustration  (if  one  Avere  needed) 
of  professional  superiority.  Norma 
Whalley’s  Countess  of  Lennox  Avas  the 
most  convincing  feminine  portrayal  of  all. 
Hubert  Carter  looked  truly  Elizabethan, 
and  his  performance  wlas  sound  in  spite  of 
comparative  inaction.  A.  B.  Imeson’s 
Borghese  wfeis  a  dashing  piece'  of  Avork, 
that  really  seemed  to  live,  and  we  AA^ould 
gladly  have  seen  more  of  him.  His  de¬ 
lirium  scenes  AAere  triumphs  of  acting, 
production  and  photography. 

Excellent  Avork  Avas  put  in  bv  William 


Luff,  Bernard  Dudley,  Lionel  d’Aragon 
and  many  small  part  players. 

We  sympathise  with  Mr.  Blackton  for 
the  accidents  which  marred  proper  pre¬ 
sentation  on  Mcnday  afternoon.  The 
projection  was  faulty,  and  a  mishap  inter¬ 
fered  Avith  the  machine.  The  music  was 
also  most  indifferently  arranged  and  exe¬ 
cuted.  Subsequent  performances  haArq 
left  nothing  to'  be  desired  in  these  respects. 

The  titling  footage  Avas  a  little  erratic. 

While  not  a  masterpiece,  “  The  Virgin 
Queen  ”  contains  much  to  admire.  Its 
sincerity  is  palpable.  It  has  the  great  ad¬ 
vantage  of  being  authentically  English  in 
spirit  and  not  a  travesty  of  history  like 
“When  Knighthood  Avas  in  Flower.”  We 
think  many  of  its  defects  are  those.  AA'hich 
took  place  after  the  last  scene  Avas  “shot,” 
and  that  it  would  be  immensely  enhanced 
in  effect  by  judicious  pruning.  It  is  more 
faithful  to  reality  than  “  The  Glorious  Ad¬ 
venture,”  and  its  appeal  should  be  at 
least  as  Avide. 

.SUMMARY. 

Direction  :  Brilliant  in  patches,  but  un¬ 
even  and  far  from  uniform.  Many  de¬ 
lightful  and  arresting  effects. 

Story  :  Too  often  swamped  by  pagean¬ 
try  and  inaction. 

Scenario  and  Continuity  :  Flaking. 

Acting  :  The  best  vindication  of  the  pro¬ 
fessional  actor  vet  seen. 

Exteriors  :  Excellent  and  often  superb. 

Interiors  :  Convincing,  but  largely  nul¬ 
lified  by  unsuitability  of  actual  apartments. 

Photography  :  Good  on  the  Avhole. 

“  Rogues  of  the  Turf." 

Butcher-Carlton— Directed  by  Wilfrid 
Noy — Story  by  John  F,  Preston — Photo-  ' 
graphed  by  Stanley  Mumford — Leading 
Players  :  Olive  Sloane,  James  Lindsay, 
Robert  Andrews,  Clarence  Blakiston, 
Fred  Groves,  Dora  Lennox,  Mavis  Clare. 
Controlled  by  Butcher’s  Film  Service,  Ltd. 

Good  “thick-ear”  racing  melodrama 
is  always  a  safe  attraction  in  British 
kinemas,  and  “  Rogues  of  the  Turf  ”  is 
a  capital  example  of  its  kind.  Whether 
one  is  thrilled  or  amused — or  both,  the 
entertainment  value  is  alvA^ays  present  in 
this  variety  of  picture.  It  has  the  addi¬ 
tional  advantage  of  being  so  essentially 
English  that  no  American  could  hope  to 
reproduce  its  atmosphere  even  if  twenty 
times  the  money  were  spent  on  produc¬ 
tion. 

The  story  in  this  picture  is  conven¬ 
tional  and  free  from  subtlety,  but  then  no 
one  expects  a  problem  play  or  a  psycholo¬ 
gical  study  to  be  an  ingredient  of  a  Turf 
drama.  Stories  of  the  Nat  Gould  type, 

Ave  honestly  believe,  are  better  on  the 
screen  than  they  are  in  print. 

The  briskness  of  action  in  this  picture 
maintains  a  steady  interest  from  start  to 
finish.  One  may  smile  at  the  stereotyped 
efforts  at  “  nobbling  ”  racehorses  and  the 
equally  obvious  devices  for  the  frustration 
of  the  rogues,  but  at  least  the  develop¬ 
ment  goes  along  with  a  swing. 

Certainly  “  Rogues  of  the  Turf  ”  is 
packed  Avith  plenty  of  excitement  which 
holds  attention  despite  its  occasional 


10 


January  27,  1923 


THE  MOTION  PICTURE  STUDIO 


Ugly  or  Beautiful 

Which  Was  Queen  Elizabeth  ? 


naive  crudity.  A  crook  racing  gang,  a 
heartless  designing  adventuress,  struggles 
and  revolver  fights,  abduction  of  the 

favourite,  ”  a  fire  rescue,  a  sea-chase,  a 
last-moment  jockey  substitute  —  all  these 
ingredients  at  least  acquit  the  theme  from 
any  accusation  of  dullness. 

The  continuity  is  a  little  abrupt  at 
times.  Departures  and  arrivals  of  the 
same  characters  in  consecutive  scenes  al¬ 
ways  strike  us  as  a  scenario  defect ;  and 
short  truncated  scenes  occur  vdhich  do  not 
make  for  smoothness.  But  we  do  not 
like  to  be  hypercritical  in  this  respect,  as 
the  action  is  quite  well  balanced  and  in¬ 
creases  in  dramatic  force  effectively. 

\\  e  did  not  see  the  point  in  stressing 
the  weak  heart  of  the  father,  as  nothing 
eventuated  after  we  were  confidently  ex¬ 
pecting  his  sudden  death.  Perhaps  it  was 
a  little  satire  on  his  heart  weakness  of  an¬ 
other  kind !  The  stealing  and  transport 
in  a  horse  van  and  barge,  of  the  horse, 
seemed  a  little  conspicuous  and,  in  view 
of  fshe  'apparent  ease  with  which  the 
animal  could  have  been  killed,  rather 
puzzling.  The  spirited  animal  made  a 
very  good  plunge  into  the  sea,  .and  was 
conveniently  led  off  to  the  course  in  the 
nick  of  time,  however. 

Wilfred  Noy  has  made  a  good  picture 
on  the  accepted  lines,  and  has  infused 
much  variety  into  the  settings.  His  direc¬ 
tion  of  the  players  is  also  most  creditable. 

Chief  acting  honours  go  to  Jfgnes  Lind¬ 
say,  whose  polished  villainy  is  in  this  pic¬ 
ture,  as  always,  incomparable.  Fred 
Groves  is  impressive  in  a  rough  sailor’s 
part— what  there  is  of  it.  Robert  (why 
not  Bobbie?)  Andrew^  photographs  well 
and  is  full  of  screen  promise  in  spite  of  a 
little  stiffness. 

Clarence  Blakiston  is  sound  without  be¬ 
ing  strong,  and  the  three  rogues — Bob 
Vallis,  b .  Royde  and  James  Reardon — are 
splendid. 

Mavis  Clare  is  pretty  and  sympathetic, 
and  her  roof-climbing stunt’ ”  is  most 
commendable.  Olive  Sloane  puts  up  a 
good  performance  as  the  adventuress,  and 
is  especially  good  in  the  scenes  where  her 
ex-husbands  mobilise,  as  it  were.  Dora 
Lennox  has  little  to  do,  but  looks  pleasant 
in  rather  a  bad  part. 

Photography  and  lighting  are  well  above 
the  average. 

SUMMARY. 

Direction  :  Sound. 

Story  and  Scenario  :  Conventional 
but  brisk. 

Exteriors  :  Good. 

Acting  :  Very  fair. 

Interiors  :  Excellent  and  varied. 

Photography  :  Good. 


BACK  AND  AWAY 

Mile.  Valia  returns  to  London  this 
week  from  Italy,  where  she  has  been  plac¬ 
ing  an  important  part  at  Rapallo  for  Guy 
Newall  in  “  The  Starlit  Garden  ”  (George 
Clark). 


Cyril  Smith  leaves  for  Egypt  this  week 
with  the  Gaumont  advance  party,  in  pre¬ 
paration  for  “  Fires  of  Fate,”  which  Tom 
Terriss  will  direct. 


Olaf  Hytten  is  back  from  Berlin. 


Cecil  Norton  York,  now  returned  from 
the  Continent,  is  completing  his  part  for 
Walter  West. 


GOOD  deal  of  discussion  as  to  the 
personal  appearance  of  Queen 
Elizabeth  has  ensued  since  the  announce¬ 
ment  that  Lady  Diana  Manners  would  ap¬ 
pear  in  the  role  of  that  great  sovereign  in 
J.  Stuart  Blackton’s  film  “The  Virgin 
Queen.”  A  number  of  commentators 
have  stated  that  Queen  Elizabeth  has  been 
known  through  the  centuries  since  her 
reign  as  an  ugly  woman,  lacking  any 
personal  attractiveness.  A  number  of 
writers  have  expressed  the  conviction  that 
Lady  Diana  should  not  have  been  cast 
for  the  role. 

It  is  a  fact  that  most  people  have  a 
mental  picture  of  this  gifted  sovereign,  as 
a  stern,  sharp- featured,  ill-natured  and 
unattractive  woman,  but  such  impressions 
come  from  records  of  the  later  years  of 
her  reign,  after  she  had  suffered  ill-health 
and  manv  personal  disappointments. 

It  is  true,  however,  that  Elizabeth  as 
a  princess  and  young  queen  was  very 
beautiful,  vivacious  and  attractive,  fond  of 
dancing,  gaiety  and  outdoor  sports.  The 
following  excerpts  from  leading  historians 
bear  out  this  conclusion  : — 

“  Elizabeth  was  now  in  her  25th  year. 
Personally  she  had  more  than  her 
mother’s  beauty ;  her  figure  was  com¬ 


SAVING  PRODUCTION 

question  of  the  position  of 
British  production,  especially  in 
regard  to  the  bad  effect  produced  in 
the  Colonies  and  Dominions  by  the 
excess  of  American  films,  is  being'  ener¬ 
getically  taken  up  by  strong  hands, 
and  some  dramatic  developments  may 
be  looked  for  in  the  near  future.  Al¬ 
ready  the  sympathy  of  the  Govern¬ 
ments  of  the  Overseas  Dominions  is 
being  obtained  and  some  effective 
propaganda  has  been  carried  out  with 
the  object  of  ridding  the  Industry  of 
some  of  its  worst  handicaps.  In  this 
connection  special  attention  should  be 
given  to  the  article  by  the  Editor, 
which1  appears1  oppage  7  of  this  ]is  sue. 


COMING 
TRADE  SHOW 

“  The  Prodigal  Son  ” 

by  HALL  CAINE 

Royal  Opera  House,  Covent  Garden. 
Sunday,  February  4,  at  6  p.m. 

Stoll.  Directed  by  A.  E.  Coleby. 
Photography  by  D.  P.  Cooper.  Lead¬ 
ing  players  :  Henry  Victor,  Stewart 
Rome,  Edith  Bishop,  Colette  Bret- 
tell,  Adeline  Hayden  Coffin.  Scen¬ 
ario  bv  A.  E.  Colebv. 


manding,  her  face  long  but  queenly  and 
intelligent,  her  eyes  quick  and  fine.  She 
had  grown  up  amidst  the  liberal  culture  of 
Henry’s  Court,  a  bold  horsewoman,  a  good 
shot,  a  graceful  dancer,  a  skilled  musician, 
and  an  accomplished  scholar.  .  .  .  Her 
moral  temper  recalled  in  its  strange  con¬ 
trasts  the  mixed  blood  within  her  veins. 
She  was  at  once  the  daughter  of  Henrc 
and  of  Anne  Boleym.  .  .  Strangely  in  con¬ 
trast  with  the  violent  outlines  of  her  Tudor 
temper  stood  the  sensuous,  self-indulgent 
nature  she  derived  from  Anne  Boleyn.” — - 
J.  R.  Green,  “A  Short  History  of  The 
English  People.” 

“  .  .  .  she  is  young,  of  a  large  and  tall, 
but  well-made  figure,  with  fine  eyes,  and 
finer  hand,  which  she  is  fond  of  displaying. 
We  are  apt  to  think  of  Elizabeth  as  thin 
and  elderly,  and  patched-up ;  but  for  a 
good  period  of  her  life  she  was  plump  and 
personable,  warranting  the  history  of  the 
robust  romps  of  the  Lord  Admiral,  Sey¬ 
mour.  .  .  She  was  a  young  queen  of 
25  years  of  age,  healthy,  sprightly,  good- 
looking,  with  plenty  of  will-power  and 
imagination  ;  and  the  gallantest  spirits  of 
the  age  were  at  her  feet.” — Leigh  Hunt. 

“  In  person  Elizabeth  was  a  little  over 
middle  height,  and  when  she  came  to  the 
throne  she  must  have  been  a  beautiful 
young  woman  with  a  profusion  of  auburn 
hair,  a  broad,  commanding  brow,  and 
regular  features  that  were  capable  of  rapid 
changes  of  expression,  as  her  hazel  eyes 
flashed  With  anger  or  sparkled  with  merri¬ 
ment.” — J.  J.  Foster,  in  his  book  on 
“  The  Stuarts.” 

“  The  qualities  praised  by  Aristotle  meet 
altogether  in  her — beauty  of  person,  great¬ 
ness  of  mind,  prudence  and  industry,  all 
in  the  highest  degrees.” — Roger  Ascham 
(who  was  in  charge  of  Elizabeth’s  educa¬ 
tion). 

“In  person  Elizabeth  was  a  little  over 
middle  height,  and  when  she  came  to  the 
throne  she  must  have  been  a  beautiful 
young  woman,  with  a  profusion  of  auburn 
hair,  a  broad  commanding  brow,  and 
regular  features.” — Dictionary  of  National 
Biography. 

“  Elizabeth  was  in  the  very  prime  of  her 
beauty  and  powers.  Her  complexion  was 
of  that  peculiar  transparence  which  is  only 
seen  in  golden  blondes,  her  figure  was  fine 
and  graceful.” — Hume. 


STARS  AT  SOUTHAMPTON 

^  SUCCESSFUL  Kinema  Star’s 
Carnival  took  place  at  the  Rialto, 
Southampton,  last  week,  when  five 
well-known  British  stars  appeared  on 
the  stage  at  one  time  Victor  McLaglen 
Clive  'Brook,  Marjorie  Hume,  Dorinea 
Shirley  and  Malcolm  Tod.  The  ladies 
judged  a  competition  and  attended  a 
carnival  held  in  the  dance  hall.  Frank 
Zeitlin  arranged  the  function  in  asso¬ 
ciation  with  Christopher  Goulding,  anc’ 
is  open  to  arrange  similar  personal  ap 
pearances  on  other  occasions. 


II 


THE  MOTION  PICTURE  STUDIO 


January  27,  1923 


Kinema  Club  News 

Annual  General  Meeting — Birthday  Concert 
—  Coming  Carnival  and  Arrangements 


nPME  first  anniversary  of  the  opening 
of  the  Kinema  Club,  on  Sunday 
last,  January  21,  at  3  p.m.,  in  the  lounge 
at  9,  Great  Newport  Street,  was  also  the 
occasion  of  the  annual  general  meeting. 
A  good  attendance  of  interested  members 
showed  the  increasing  interest  in  (the 
affairs  of  the  club,  and  followed  with 
much  attention  the  official  business. 

George  Ridgwell  made  a  characteristi¬ 
cally  cheering  speech  from  the  chair,  and 
H.  C.  Wansborough,  the  lion,  treasurer, 
made  known  his  financial  statement  and 
balance  sheet.  The  position  of  the  club, 
after  all  its  liabilities  and  commitments 
had  been  certified  by  an  accountant,  was 
a  distinctly  sound  one,  and  much  more 
satsfactory  than  many  of  those  behind  the 
scenes  had  anticipated  only  a  few  months 


An  Attractive  Program 

^HE  Entertainments  Committee  is  in 
the  throes  of  strenuous  work  in 
connection  with  the  Hotel  Cecil  Carnival 
on  Monday,  February  5,  and  as  time  is 
now  very  short  we  make  a  final  strong 
appeal  to  all  our  readers  to  assist  Billie 
Bristow  and  those  working  with  her  in 
every  possible  way — by  selling  tickets,  dis¬ 
playing  posters  and  handbills,  and  gener¬ 
ally  making  the  Carnival  even  more  widely 
known  than  at  present.  The  sale  of  tic¬ 
kets  is,  so  far  as  can  be  judged,  most 
reassuring,  but  the  committee  are  re¬ 
solved  to  relax  no  effort  in  filling  the  Cecil 
rooms  with  an  enormous  crowd. 

Prizes  have  been  kindly  promised  as 
under : 

Prizes  presented  by  Associated  First 
National  Pictures,  L£d  :  Two  best  re¬ 
presentations  of  Wvndiham  Standing  in 

Smilin’  Through.”  1st  prize  value  10 
guineas,  2nd  value  5  guineas. 

Two  best  impersonations  of  Norma 
Talmadge  in  “  Smilin’  Through.”  1st 
prize  value  10  guineas,  2nd,  value  3 
guineas. 

Two  best  representations  of  Constance 
Talmadge  in  “  East  is  West.”  1st  prize 
value  10  guineas,  2nd,  value  5  guineas. 

Prize  presented  by  Lady  Diana  Duff- 
Cooper  :  Best  dressed  lady.'  Half  a  dozen 
antique  paste  buttons  in  case. 

^  Prize  presented  by  J.  Stuart  Blackton  : 
Best  dressed  gentleman. 

Prizes  presented  by  the  Gaumont  Film 
Co.,  Best  representation  of  Bettv  Comp- 
son  as  Lady  Babbie  jin  “The  Little 
Minister.”  Electro-plated  cake  stand. 

Best  representation  of  Howard  Gave  as 
Lord  Bvron  in  “  The  Prince  of  Lovers.” 
Electro-plated  hot  bacon  dish. 

Best  representation  of  David  Haw¬ 
thorne  in  the  title  role  of  “  Rob  Roy.” 
Electro-plated  coffee  set. 

Prize  presented  by  the  Goldwyn  Film 
Co.  :  Best  representation  of  “Moriaritv.” 
Prize  valued  at  10  guineas. 

Among  the  many  side  attractions  are 


previously.  Substantial  profits  had  been 
made  from  the  bar,  the  club  picture — 
“  The  Crimson  Circle  ” — the  carnival  last 
April,  and  from  entertainments,  cards  and 
billiards.  There  had  been  a  slight  excess 
of  expenditure  over  receipts,  but  as  the 
initial  capital  expenditure  of  the  club 
amounted  to  nearly  £2,000,  this  item  was 
not  likely  to  figure  in  the  1923  balance- 
sheet.  The  club’s  creditors  would  in 
future  cause  no  misgivings  to  the  Council, 
as  the  revenues  from  the  sources  men¬ 
tioned  wiere  steadily  on  the  increase. 

On  the  motion  of  H-  Walton,  seconded 
by  R.  Lindsay,  the  balance-sheet  was 
unanimously  adopted. 

The  Club’s  Officers. 

A.  G.  Granger  was,  on  the  chairman’s 
motion,  unanimously  re-elected  President 


and  Elaborate  Prize  List 

Philip  Moss’s  famous  fashion  show — 
fifteen  of  the  most  beautiful  girls  in  the 
latest  dress  creations— a  wonderful  parade 
which  has  recently  been  creating  such  a 
sensation  at  Murray’s  Club.  In  addi¬ 
tion,  there  will  be  a  living  roulette  com¬ 
petition  ;  a  bran  tub  lucky  dip;  an  ex¬ 
hibition  dance  by  Flora  le  Breton  (in  a 
Ninette  gown),  and  a  symbolic  dance  bv 
Mdlle-  Dacia,  the  wonderful  “  Chu  Chin 
Chow  ”  dancer;  a  cameramen’s  “  stunt,” 
exposing  American  film  methods,  and  a 
large  novelty  stall 

Clarence  W.  Green’s  Commodore  Band 
will  provide  the  dance  music. 

The  committee  of  the  Kinema  Club 
Carnival  are  indebted  to  the  following 
firms  for  gifts  for  the  bran  tub  and  as 
prizes  in  the  living  roulette  competition  : 

Messrs:  Ponds  (vanishing  cream),  In¬ 
ternational  Chemical  Co.  (hair  tonic), 
Messrs.-  Anzora  (face  cream  and  hair 
tonic),  Messrs.  Swaine  (sitting  of  photo¬ 
graphs),  Messrs.  Pears  (soap),  Messrs. 
Courtaulds  (Luvisca  blouse),  Messrs. 
Godfrey  and  Duchene  (red  wine),  Messrs. 
Allan  Ramsay,  Messrs.  Barney,.  Messrs. 
John  Player,  Messrs.  J.  Wix  and  Sons, 
Messrs.  the  Imperial  Tobacco-  Co. 
(cigarettes),  Messrs.  Brown  Gore  and  Co. 
(gin),  Messrs.  John  Walker  (whisky), 
Messrs.  Carr  and  Co.  (chocolates  and 
toffee),  Messrs.  Chas.  Mackinlav  (whisky), 
Maxine  Boussard  (perfume  and  powder). 

Tickets  may  be  obtained  through  most 
club  members ;  of  Billie  Bristow 
(hon.  organiser),  175,  Wardour  Street, 
Wji ;  of  Clarence  W.  /Green,  at  the 
Palais  de  Danse,  Finsbury  Park,  at  The 
Motion  Picture  Studio  office,  93,  Long- 
Acre,  W.C.2 ;  of  Dorothy  Fane,  at  the 
Garrick  Theatre ;  Donald  Searle,  at  the 
St.  James’  Theatre;  the  Langham  Hotel 
box  office ;  the  Hotel  Cecil  box  office ; 
and  of  the  hall  porter,  Kinema  Club,  9, 
Great  Newport  Street,  W.C.2.  They  are 
25s.  each,  and  include  a  supper  which  is 
being  carefully  arranged  to  avoid  scramble 
and  confusion. 


of  the  club,  and  on  Burton  Craig’s 
motion,  seconded  by  J.  E.  Barber,  the 
three  Vice-Presidents,  A-  E.  Newbould, 
J.  Stuart  Blackton  and  Jeffrey  Bernerd 
were  also  re-elected. 

H.  C.  Wansborough ’§  re-election  as 
hon.  treasurer,  proposed  and  seconded  by 
Rex  Davis  and  Bert  Darlev,  was  carried 
with  acclaim,  and  Graham  Davis  was 
also  re-elected  as  hon.  solicitor  on  the 
motion  and  seconding  of  A.  B.  Imeson 
and  Knighton  Small. 

The  whole  of  the  council  wfere  re¬ 
elected,  and  a  delicate  deadlock  arose 
when  it  was  mentioned  that  there  was 
one  actor  too  many  in  accordance  with 
the  constitution.  The  difficulty,  however, 
was  solved  to  the  general  satisfaction  of 
the  meeting,  bj  A.  Harding  Steerman’s 
resignation  as  a  council  member  as  such 
on  his  agreeing  to  continue  as  chairman 
of  the  House  Committee  which  gave  him 
automatically  a  seat  on  the  council. 

Three  members  of  committees  tendered 
their  resignations,  viz.,  Evelyn  Cecil  from 
the  Finance  Committee ;  Flora  le  Breton 
and  Charles  Vane  from  the  House  Com¬ 
mittee,  and  their  resignations  were  ac¬ 
cepted  with  regret. 

The  other  committees  were  re-elected 
and  the  names  of  several  members  nomi¬ 
nated  for  committee  vacancies. 

Amendments  to  Rules. 

The  meeting  then  proceeded  to  the  dis¬ 
cussion  of  the  proposed  amendment  to  the 
eligibility  rules.  It  was  proposed,  as  the 
Chairman  explained,  to  admit  as  full 
members  ladies  and  gentlemen  not  com¬ 
ing  within  the  existing  qualifications, 
but  considered  by  the  council  to  be  of 
advantage  to  the  club,  as  having  rendered 
services  to  the  club. 

This  was  thrashed  out  by  several  mem¬ 
bers  at  length.  Fred  Groves  had  grave 
doubts  of  the  ejastic  wording  of  the 
amendment  which  was  rather  vague  and 
unsatisfactory.  1 1  e  also  ,  felt  strongly 
against  the  proposed  method  of  electing 
such  members  by  the  council  instead  of 
posting  their  names  as  candidates  in  the 
ordinary  way.  P.  L.  Mannock  urged  a 
strict  interpretation  of  the  phrase  “  ad¬ 
vantage  to  the  club,”  a  genuine  investi¬ 
gation  of  each  candidate’s  credentials  and 
personal  desirability,  and  a  limitation  of 
the  number  of  such  members.  Frank  A. 
Tilley  regarded  their  admission  as  detri¬ 
mental  to-  the  spirit  in  which  the  club 
was  conceived.  An  amendment  was  finally 
unanimously  carried  in  modified  terms, 
with  a  limitation  of  extra  members  to  100, 
90  of  whom  must  be  connected  with  the 
film  Industry;  and  a  provision  that  their 
names)  as  candidates  are  displayed  as 
usual  on  the  club  notice  boards. 

A  proposal  to  register  the  club  under 
the  Provident  Societies  Act  was  nega¬ 
tived. 

The  Chairman’s  Tribute. 

George  Ridgwell  in  a  final  speech,  paid 
tribute  to  the  wonderful  work  that  was 
being  done  unobtrusively  by  the  club’s 
several  committees.  He  referred  to  the 
recent  successful  efforts  of  the  Billiards 


The  Club  Carnival 


12 


January  27,  1923 


THE  MOTION  PICTURE  STUDIO 


•Committee,  who  'had  raised  a  new  billiard 
table  by  subscriptions  and  raffles;  also  to 
the  Entertainments  Committee  and  their 
efforts  at  social  functions,  dances  and  the  j 
club  carnival ;  and  finally  to  the  whole-  i 
hearted  spirit  in  which  H-  Lisle  Lucoque 
and  those  assisting  him  had  carried  on  the 
club  catering  for  four  months. 

He  announced  the  acquisition  of  the 
shop  and  basement  with  possession  al¬ 
most  immediately.  This  meant  that  the 
club  would  occupy  the  whole  of  the  pre¬ 
mises  at  No.  9.  The  club  could  not  die. 
He  made  a  special  appeal  to  all  to  sell 
as  many  tickets  for  the  Hotel  Cecil  Club 
Carnival  on  February  5. 

The  meeting  dispersed  after  Harry 
Worth’s  vote  of  thanks  to  the  Chairman 
had  been  enthusiastically  carried. 

Birthday  Old-time  Concert. 

The  packed  room  in  the  evening  en¬ 
joyed  hugely  the  very  satisfying  old-time 
concert  under  the  genial  chairmanship  of 
Sydney  Paxton,  impenetrably  disguised  as 
a  mottled  vaudeville  lessee.  Good  friends 
of  the  club  turned  up  and  gave  of  their 
best  in  the  persons  of  Arthur  Roberts  (in 
marvellous  fettle),  Tom  Costello,  who 
“  brought  down  the  house,”  Thornley 
Dodge,  with  some  inimitable  stories, 
Frank  Cochrane  who  delighted  the  as¬ 
sembly  with  the  famous  “  Cobbler  ”  song, 
Bertram  Burleigh  in  a  deceitful  mood, 

A.  B.  Imeson  at  his  very  best,  George 
Ridgwell  himself,  Helen  Marris  and  Cyril 
Dane.  P.  L.  Mannock  accompanied. 

Brief  but  pointed  speeches  were  made 
by  Rex  Davis,  Sydney  Paxton,  George 
Ridgwell,  and  Fred  Groves.  Harry 
Worth  is  to  be  congratulated  on  his  capi¬ 
tal  stage  management  of  what  was  the 
best  concert  by  miles  ever  held  at  the 
club. 

New  Catering  at  the  Club. 

The  Kinema  Club  catering  is  now  | 
under  the  direct  control  of  the  House  j 
Committee,  the  secretary  and  the  steward,  j 
The  new  regime  began  on  Monday  last.  1 

On  Sunday  following  the  general  meet¬ 
ing  a  special  tea  was  provided  thanks  to 
the  efforts  of  Lallie  Forsyth,  Miss  Nelson 
and  Eva  Llewellyn.  The  ordinary  daily 
teas  will  continue  as  heretofore.  The 
excellent  supper  on  Sunday  last  was  due  | 
to  Major  Foyle’s  initiative. 

Return  of  The  Original  Club  Band. 

To-night  (Saturday)  there  will  be  a 
special  return  visit  of  two  of  the  members 
of  the  original  club  kinecopators,  Cyril 
Percival  and  Jack  Raymond,  who  have 
during  the  past  eight  months  been  active 
in  dance  band  work  on  the  South  Coast. 
Their  welcome  is  already  assured. 


Foolish  Titling 

Interest  Pictures  that  Irritate 


j^EVERAL  letters  have  recently  ap¬ 
peared  in  the  Observer  on  the  sub¬ 
ject  of  the  incongruous  and  irritatingly 
flippant  captioning  of  interest  pictures.  It 
is  a  matter  on  which  we  feel  strongly. 
Usually  it  is  confined  to  the  short  topical 
interest  picture,  and  in  this  case  it  has  at 
least  the  excuse  that  it  appeals  to  a  cer¬ 
tain  low  mental  level  among  the  widest 
audiences.  Even  in  these  cases  we  think 
it  indefensible,  and  we  think  we  are  right 
because  the  average  audience  is  unmoved 
and  slightly  bored,  to  say  the  least,  by  the 
efforts  of  what  are  described  as  “  pur¬ 
veyors  of  shallow  wit.” 

When  Herbert  G.  Ponting  lectured  ex¬ 
planatorily  on  the  Captain  Scott  Antarctic 
pictures,  there  was  no  need  for  him  to 
dress  up  as  a  harlequinade  clown.  Such 
a  procedure  would  have  been  resented. 
Yet  had  that  picture  got  into  the  hands  of 
certain  film  11  editors  ”  and  titling  “ex¬ 
perts,”  it  would  have  nauseated  instead  of 
delighted.  We  recollect  some  three  years 
ago  a  wonderful  South  Seas  cannibal  pic¬ 
ture  which  in  our  judgment  was  largely 
discounted  in  its  presentation  by  some 
would-be  “funny”  titling.  Even  if  real 
humour  is  utilised,  it  is  usually  as  out  of 
place  in  a  picture  of  sheer  interest,  and 
the  only  excuse  that  can  be  put  forward 
is  that  such  interpolations  are  a  necessary 
concession  to  the  rank  and  file  of  kinema- 
goers,  who  are  assumed  to  be  incapable 
of  appreciating  interest  and  travel  pictures 
unless  they  are  sprinkled  with  the  forced 
facetiousness  of  the  “  fit-up  ”  pantomime. 

We  hold  this  to  be  a  crass  delusion  on 
the  part  of  those  responsible.  It  is,  more¬ 
over,  a  striking  illustration  of  the  fact 
that  the  mentality  of  those  who  cater  for 


the  screen  public  in  this  country  is  in 
many  cases  far  below  that  of  their  audi¬ 
ences.  Their  efforts  in  this  direction,  as 
anyone  'can  judge  by  studying  the  effect 
of  the  pictures  upon  the  average  audience, 
fall  entirelv  fiat,  being  almost  invariably 
received  with  impatient  silence  which 
covers  an  irritated  resentment. 

To  us  the  “  comic  ”  titling  of  a  great 
interest  picture  is  as  incongruous  as  Her¬ 
bert  Spencer  illustrated  by  H.  M.  Bate¬ 
man.  If  a  picture  of  travel,  adventure  01- 
research  is  really  interesting  to  the  degree 
of  being  worthy  of  the  name  of  entertain¬ 
ment,  there  is  no  need  for  its  being  gar¬ 
nished  with  frivolity  of  the  kind  we  refer 
to.  If  such  a  picture  cannot  “  get  over  ” 
without  being  bolstered  in  such  a  way,  it 
had  better  not  be  exhibited  at  all. 

While  we  are  on  this  subject  there  has 
been  an  occasional  regrettable  tendency 
to  exploit  would-be  humour  in  the  titles 
of  story  feature  pictures  in  a  similarly 
crude  and  jarring  way.  We  believe  very 
firmly  in  the  need  for  lightness  and 
humour  in  screen  entertainment,  and  w-e 
base  our  conviction  on  the  opinions  of  the 
majority  of  those  we  know,  who  prefer 
in  the  main  to  be  amused  rather  than 
wrung.  But  the  practice  of  inserting  flip¬ 
pancy  both  by  words  and  by  drawings  in 
the  titling  of  a  picture  should  never  be 
abused  to  the  extent  of  damaging  the 
otherwise  gripping  effect  of  a  strong 
scene.  We  know  of  at  least  one  British 
picture  ruined  by  this,  and  it  was  difficult 
to  believe  while  witnessing  it  that  the 
title  artist  had  anv  idea  of  the  kind  of  pic¬ 
ture  he  was  engaged  upon.  This  was  not 
necessarily  his  fault,  of  course  j  but  it 
was  somebody’s. 


Cameramen’s  Section 

News  and  Views  and  Record  of  Activities  of 

Kine-Cameramen 


rjWIE  Society’s  meeting  last  Friday  was 
the  first  one  to  be  held  at  the  Kinema 
Club,  Great  Newport  Street.  The  proceed¬ 
ings  in  the  absence  of  the  secretary  were 
somewhat  informal,  A.  G.  Kingston  pre¬ 
siding.  Our  announcement  last  week 
has  given  rise  to  some  misapprehension 
among  members  who  are  uncertain  of  the 
altered  meetings.  The  weekly  meetings 
will  still  be  continued  at  the  old  venue, 
except  once  monthly,  on  the  third  Friday 
of  each  month,  when  the  Kinema  Club 
will  be  the  place  of  assembly. 

The  K.C.S.  dinner,  concert  and  dance 
on  Februarv  16  af  the  Holborn  Restaur¬ 
ant,  is  being  well  organised  by  an  active 
committee.  Tickets  may  be  obtained  from 


K.C.S.  members  and  also  from  the 
Kinema  Club,  price  12s.  6d.  ;  double  tickets 
(lady  and  gentleman)  21s.,  and  a  goodly 
company  representative  of  all  sides  of 
the  Industry  is  anticipated. 

Basil  W.  G.  Emmott  will  be  \\  .  P.  Kel- 
lino’s  cameraman  at  Stoll’s. 


Gustav  Pauli  has  returned  from  Berlin 
with  George  Dewhurst. 


A.  St.  Aubvn  Brown  and  H.  W.  Bishop 
will  photograph  “The  Fires  of  Fate”  for 
Tom  Terriss  (Gaumont),  and  are  leaving 
for  Egypt  immediately. 


Will  Producing  Firm  or  Producer  take  an  interest  in 
Advertiser  and  his  Sister  ?  Qualifications 


YOUNG  Lady,  18,  exceptional  appearance,  well 
educated,  sportswoman,  splendid  grounding  in 
film  work,  recently  lead  in  a  series  of  two-reel  comedies 
for  known  producer,  possesses  film  personality  and 
initiative  ;  also  one  of  the  Lovely  :oo  for  Norma 
Talmadge  Competition. 

Box 


GENT,  24,  public  school  graduate,  good  appearance, 
all-round  athlete,  merged  from  free  lance 
literary  work  into  scenario  work,  experienced  titler, 
adaptor,  and  original  synopsis  writer,  capable  also  of 
assisting  producer  on  the  floor,  and  juvenile  and 
character  acting.  A  splendid  all-round  elementary 
knowledge  of  studio  life  and  conditions,  gained  over  a 
period  of  three  years. 

D.  501.  ‘  Motion  Picture  Studio 


as  follows  : — 

BOTH  possess  modern  and  replete  wardrobes. 

This  is  a  genuine  case  of  brother  and  sister 
desiring  an  opportunity  to  prove  their  ability.  Should 
prove  excellent  as  creators  of  new  type,  light  comedy 
films.  Highest  business  and  personal  references, 
and  any  further  particulars,  also  stills,  will  be  forth¬ 
coming  to  companies  or  producers  interested. 

»» 


13 


THE  MOTION  PICTURE  STUDIO 


January  27,  1923 


Film  Puppets 

Actors  who  are  not  allowed  to  think 


hy  ANDREW  SOUTAR 


read  the  letter 
or  something 


something 


A  GRIEVANCE  of  the  average  film 
artiste,  and  one  with  which  I  have 
much  sympathy,  is  that  the  director 
seldom  or  never  allows  an  artiste  to  ad¬ 
vance  an  idea  of  how  a  scene  should  be 
played.  He  keeps  the  scenario  to  him¬ 
self;  the  artiste  knows  nothing  about  the 
story  unless  it  be  a  version  of  a  popular 
novel.  The  artiste  is  “  called  ”  for  a 
scene ;  he  is  told  : 

“In  this  ‘shot’  you  are  supposed  to 
hear  news  of  your  son’s  death.  Walk 
from  the  door  to  the  table, 
and  burst  into  tears”  . 
of  that  sort. 

Then  the  director  marshals  his  men  and 
the  camera  and  shouts  his  directions, 
after  this  fashion 

Walk  in,  slowly,  George  (his  real 
name).  Look  around  you.  Slowly.  Pick 
up  letter.  .  .  .  It’s  bad  news,  George; 
the  boy’s  dead.  Register  grief.” 

I  believe  that  with  a  little  patience  I 
could  make  a  wooden  model  of  that  actor 
—a  model  that  would  do  all  that  he  is 
being  asked  to  do  in  that  scene. 

Why  pay  a  prominent  actor  a  large 
salary  for  being  a  puppet?  Are  you  pay¬ 
ing  only  for  his  looks?  Does  his  brain, 
hig  sense  of  art,  count  for  nothing? 

Directors  have  told  me  frankly  that 
thev  don’t  allow  their  artistes  to  read  the 
full  scenario  because  it  would  interfere 
with  the  production  :  the  artiste  would 
imagine  that  his  conception  of  a  scene 
was  far  better  than  that  of  the  director, 
there  would  be  wrangling,  stubbornness, 
and  nothing  would  be  achieved.  More¬ 


over.  they  say,  film  artistes  are  so  jealous 
of  one  another  that  if  they  all  knew  the 
extent  of  the  parts  they  had  to  play  in 
a  picture  they  would  spit  and  scratch 
like  the  cats  of  the  story  books.  Better 
to  let  them  think  that  there’s  a  “fat” 
scene  coming  along  for  them.  But  is  the 
profession  so  cheap  and  paltry  as  all  that? 
Come!  If  an  artiste  is  in  love  with  his 
(or  her)  work,  he  can  bring  to  it  such 
a  depth  of  feeling  that  the  meanest  part 
will  be  made  to  stand  out  in  the  memory 
of  those  who  see  the  finished  picture. 
“  Give  me  the  smallest  part  in  the  pic¬ 
ture,”  said  the  late  John  Bunny  when 
he  was  craving  a  start,  “  and  if  I  don’t 
make  good  in  it  I’ll  take  the  knock.” 
They  did.  He  pondered  it,  and  when  he 
was  allowed  to  play  it  as  he  had  imagined 
jt,  they  all  agreed  that  genius  had  been 
infused. 

I  receive  many  letters  from  young 
people — and  old — who  are  tired  of  the 
meanness  of  the  profession  or  trade  to 
which  they  have  been  consigned  by  cir¬ 
cumstances.  Always,  I  tell  them  that  in 
every  trade  or  profession  there  is  a  dazz- 
ling  height  to  which  they  may  aspire  if 
only  they  will  fix  their  eyes  on  a  star 
and  allow  no  one  to>  discourage  them. 
You  remember  the  reply  of  the  house 
painter  to  the  vicar  who  had  complained 
about  the  estimate  for  painting  his  house? 

“Why,”  the  vicar  expostulated,  “I 
don’t  pay  my  curate  as  much  as  that.” 

Maybe,  sir,”  said  the  house  painter, 
“but  I’m  a  bishop  in  my  profession.” 

I  am  acquainted  with  the  trials  that 


Where  They  Are — and 
What  They  Are  Doing 


The  Blackford  sisters — Lottie  and  Nessie 
—have  been  playing  in  “  Hornet’s  Nest  ” 
for  Walter  West. 

Arthur  Walcott  has  been  engaged  to 
play  in  Walter  West’s  racing  picture. 
“The  Lady  Trainer.’’ 

Malcolm  Tod  has  completed  his  part 
in  Frank  Crane’s  production  for  Ideal  of 
“The  Hawk.” 

Harvey  Braban  is  on  location  for 
I.V.T.A.  in  East  Africa  in  “The  Reef 
of  Stars,” 

G.  H.  Mulcaster  has  just  completed 
two  parts  in  the  new  Hepworth  pictures, 
“  The  Pipes  of  Pan  ”  and  “  Mist  in  the 
Valley.” 

Jerrold  Robertshaw,  Chris  Walker, 
Daisy  Campbell  and  Eileen  McGrath  are 
playing  in  Quality  Films,  directed  bv 
George  Cooper. 

Jose  Brooks  reminds  us  that  she  is 
playing  lead  in  Robert  Ganthony’s  “  The 
\\  idow’s  Husband,”  shortly  to  be  seef-  in 
London. 

14 


J.  E.  Barber  and  Muriel  Gregory  are 
among  the  cast  of  “  Early  Birds,”  the 
first  of  the  Karno  comedies  being  pro¬ 
duced  by  Albert  Brouett  at  Barker's 
Ealing  studios. 

George  Dewhurst  has  returned  to  Lon¬ 
don  from  Berlin,  and  is  now  engaged  on 
the  assembling  and  titling  of  “  The  Un¬ 
invited  Guest  ”  and  “  What  the  Butler 
Saw.” 

Roy  Byford  is  playing  Falstaff  for 
Edwin  Greenwood  at  the  B.  and  C. 
studios  in  “Falstaff— the  Tavern  Knight.” 
Jack  Denton  has  been  engaged  for  the 
same  subject  to  play  “  Master  Ford.” 

Ruhama  Catton  and  Alec  Alexander, 
junr.,  are  among  the  cast  of  “  Silver 
Blaze,  the  two-reel  Sherlock  Flolmes 
episode  now  being  completed  bv  George 
Ridgwell  for  Stoll.- 

Mary  Brough,  Campbell  Gullan,  Frank 
Stanmore,  and  Lionel  d’Aragon  appear 
in  support  of  Henry  Edwards  and  Chrissie 
White  in  Henry  Edwards’  new  film  with¬ 
out  titles,  “  Lily  of  the  Alley  ”  (Hep- 
worth). 


ANDREW  SOUTAR 

beset  a  director,  but  that  doesn’t  alter  my 
belief  that  if  the  artiste  were  given  more 
freedom  better  results  would  be  obtained. 
At  least,  he  might  be  asked  for  his  version 
of  how  a  scene  should  be  put  through. 
Most  of  the  directors  I  have  met  have 
had  some  stage  experience,  but  I  don’t 
know  of  a  single  instance  of  a  prominent 
actor  taking  up  the  work  of  directing. 
How  can  one  expect  a  person  who  never 
reached  beyond  a  walking-on  part  to 
teach  a  theatre  star  how  to  act?  Of 
course,  it  is  his  duty  to  put  the  actor 
right  on  technique,  lighting,  focus  and  so 
forth,  but  surely  when  it  comes  to  acting 
the  star  should  know  what  to  do. 

My  opinion  is  that  picture  producing 
has  fallen  into  a  groove  as  a  result  of 
this  puppet  business.  One  director  has 
followed  another  in  his  methods.  We 
know  exactly  how  an  artiste  will  turn, 
raise  his  hands,  move  his  feet,  elevate 
his  eyebrows.  That  firm  handshake,  the 
“  Put  it  there,  old  pal !  ”  has  become 
whiskery,  but  it  still  does  duty.  The 
hideous  stare  of  the  heroine  in  the  close- 
up  when  the  tears  of  glycerine  roll  down 
her  cheeks  is  still  regarded  as  art  (How 
often  does  a  woman  cry,  by  the  way,  with¬ 
out  putting  a  handkerchief  to  her  eves 
and  lips?)  Picturising  has  become 
mechanical.  The  puppets  move  about  in 
the  measured  space  with  a  regularity  that 
breeds  a  yawn  and  makes  one  wish  that 
the  mechanism  might  run  down  and  the 
key  be  lost. 

If  an  artiste  is  worth  sixty  pounds  a 
week  (at  the  rate  of),  why  not  utilise 
the  genius  he  (or  she)  is  supposed  to 
possess?  If  the  director  has  all  the 
genius  why  not  take  anyone  out  of  a 
chorus  and  make  him  do  what  the  Big 
Noise  is  supposed  to  do? 

Once  I  asked  a  film  actor  (a  lead,  too) 
what  he  was  playing  in.  He  didn’t  know. 

“  I’m  supposed  to  be  a  farmer,”  he 
said,  “  and  mv  daughter  has  slipped  off 
the  narrow  path.  At  least,  I  gather  that 
from  the  scenes  I’ve  played  in  up  to  now.  ” 

“  But  the  story — what  is  it  about?  ”  I 
asked. 

“  I  shall  not  know  till  I’ve  seen  the 
Trade  show,”  he  said,  quite  frankly. 


THE  MOTION  PICTURE  STUDIO 


January  27,  1923 


w 


Adelqui  Millar  Productions. —  1.  Lein¬ 
ster  Square,  W.2.  Park  1258. 

Albert-Phillips  Film  Production. — 3. 

Wardour  Street,  W.  1.  Regent32  82. 

Alliance  Film  Co. — St.  Margaret’s, 
Twickenham.  Richmond  1945. 

Route  :  ’Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s  every 
10  minutes. 

Artistic  Films,  Ltd. — 93-95,  Wardour 
Street,  W.l.  Gerrard  3210. 

Film  :  “  The  Monkey’s  Paw.” 

Director  :  Manning  Haynes. 

Scenarist  :  Lydia  Hayward. 

Stars  :  Moore  Marriott  and  Mary 
Ault. 

Cameraman  :  Frank  Grainger. 

Stage  :  Cutting  and  assembling. 

Astor  Productions. — 40,  Shaftesbury 
Avenue,  London,  W.  Gerrard  8436. 

Director  :  Peter  Astor. 

Atlas  Biocraft. — 5  8,  Haymarket,  Lon¬ 
don,  S.W.l. 

Film:  ‘‘The  Man  Without  Desire.” 

Director  :  Adrian  Brunei 

Stars  :  Ivor  N -  vello  and  Nina  Varna 

Cameraman  :  Harry  Harris. 

Scenarist  :  Frank  Favell. 

Stage  :  Cutting  and  Assembling. 

Brouett  Productions.  —  Barker’s 
Studios,  Ealing  Green,  W.  5. 
’Phone:  Ealing  211  and  1582. 

Route  :  District  or  C.L.R.  Tube  to 
Ealing  Broadway.  Piccadilly  Tube, 
change  at  Hammersmith.  ’Bus 
Route  No.  17. 

Films  :  Fred  Karno  Comedies. 

Director  :  Albert  Brouett. 

Scenarist  :  P.  L.  Mannock. 

Cameraman  :  L.  G.  Egrot. 

Studio  Manager  :  H.  C.  Wans- 
borough. 

Stage  :  Casting. 

B.  &  C.  Productions. — Hoe  Street, 
Walthamstow.  Walthamstow  364 
and  712. 

Route  :  ’Bus  38.  Tram  81  to 
Bakers’  Arms.  Trains  from  Liver¬ 
pool  Street  to  Hoe  Street  every 
few  minutes. 

Film  :  “Wonder  Women  of 
World.” 

Type  :  One-ieelers. 

Director  :  Edwin  Greenwood. 

Scenarist  :  Eliot  Stannard 

Edwin  Greenwood. 

Cameraman  :  A.  G.  Kingston. 

Stage  :  One  a  fortnight. 


the 


and 


Film  :  “  Gems  of  Literature.” 

Director  :  Edwin  J.  Collins. 

Type  :  Two-reel  dramas. 

Cameraman  :  A.  G.  Kingston. 

Scenarist  :  Eliot  Stannard. 

Stage  :  One  a  fortnight. 

Baron  Films. — 91,  St.  Martin’s  Lane, 
W.C.2. 

Beehive  Production. — 

Director  :  Bert  Haldane 

Assistant  Director  :  Horace  Cor- 
byn. 

Scenarist  :  Jack  Denton. 

Stars  :  Jimmy  Reardon  and  Mar¬ 
garet  Hope. 

Stage  :  Scheduled. 

British  Famous  Films.  —  “  Wood¬ 
lands,”  High  Road,  Whetstone. 
Finchley  1297. 

Studio  Vacant. 

British  and  Oriental. — B.P.  Studios, 
Thornton  House,  Thornton  Road, 
Clapham  Park.  Streatham  2652. 

British  Photoplays. — Devon  Cham¬ 
bers,  28,  Fleet  Street,  Torquay. 

Not  Working. 

British  Productions. — Selborne  Road, 
Hove. 

Film  :  Title  undecided. 

Director  :  Lieut.  Daring. 

Star  :  Lieut.  Daring. 

Cameraman  :  Bert  Ford. 

Stage  :  Assembling 


Complete  List  of  all  the  British  Studios,  together 
with  Addresses,  Telephone  Numbers,  Full  Par¬ 
ticulars  of  Current  Productions  and  Routes  for 
::  ::  ::  ::  Reaching  the  Studios  ::  ::  ::  :: 


fSJs5 


British  Super  Films. — Wort.on  Hall, 
Isleworth.  Hounslow  212. 

Route  :  ’Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth  : 
A.m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 
past  each  hour  until  11.51  p.m. 
Extra  trains  :  4.43,  5.13,  5.43, 
6.13,  6.43,  7.13. 

Isleworth  to  Waterloo  :  8.33. 

8.44.  9.3,  9.13,  9.33,  9.44,  10.14; 

10.44.  Same  minutes  past  every 

hour  until  10.44,  11.14  p.m. 

Extra  trains  :  5.30,  6.0,  6.30. 

Daisy  Productions. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 
Davidson.— Lea  Bridge  Road,  E.10. 

Walthamstow  634. 

Route  :  ’Bus  Nos.  35  and  38.  Trams 
81  15,57. 

Dewhurst  Productions. 

Film  :  “  What  the  Butler  Saw.” 
Director  :  George  Dewhurst. 

Star  :  Madge  Stuart. 

Cameraman  :  G.  Pauli. 

Stage  :  Cutting  and  assembling. 


Film  :  “  The  Uninvited  Guest.” 
Director  :  George  Dewhurst. 
Star  :  Stewart  Rome. 
Cameraman  :  G.  Pauli. 

Stage  :  Cutting  and  assembling 


F.  P.-Lasky. — Poole  Street,  Isling¬ 
ton.  Dalston  2770. 

Route  :  ’Bus  38a,  to  New  North 
Road,  and  then  tram  No.  11. 
Gaumont.— Lime  Grove,  Shepherd’s 
Bush,  W.12.  Hammersmith  2090- 
1-2. 

Route  :  ’Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station. 
Film  :  “  Fires  of  Fate.” 

Director  :  Tom  Terriss. 

Stars  :  Wanda  Hawley  and  Nigel 
Barrie. 

cameramen  :  St.  Aubyn  Brown  and 

H.  W.  Bishon. 

Stage  :  Starting  shortly. 

Glen  Film  Productions. — 20,  Lisle 
Street,  W.C. 

Studio  :  “  Belgrave,”  Marine  Ter¬ 
race,  Aberystwyth. 

Not  working. 

“  Gems  of  Art  ”  Film  Co.,  Ltd. — 

I,  Bear  Street,  W.C. 

Films  :  “  Gems  of  Art.” 

Director  :  Norman  Macdonald. 
Cameraman  :  E.'  Groc. 

Stage  :  Fourth  week. 

George  Clark  Productions. — 47,  Ber¬ 
ners  Street,  W.l.  Museum  3012. 
Film  :  “  The  Starlit  Garden.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Cameraman  :  II.  A.  Rcndall. 

Stage  :  Seventh  week. 


WE  CAN  DELIVER  FROM  STOCK 

The  Columbia  12  in.  by  \  in-  Silver-tipped 
Carbons  for  Wohl  and  other  Studio  Lamps. 

Recommended  by  Wohl  s  as  the  only  suitable  Carbon 
for  their  Lamps. 

UNITED  KINGDOM  PHOTOPLAYS,  Ltd 

29a,  CHARING  CROSS  ROAD,  W.C.  2. 

’Phone  :  Gerrard  8742. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


<6 


’Phone 


DEBRIE 


W 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER. 

23,  Mortimer  Street,  London,  W.  i 


Graham  Wilcox  Productions. — 174 

;  Wardour  Street,  London,  W.  L 
I  ’Phone  :  Regent  556-7. 

Next  Film  :  “  Chu  Chin  Chow.” 
Director  :  Graham  Cutts. 

Stage  :  Scheduled. 

Granger-Binger. — 191,  Wardour  St., 
W.l.  Gerrard  1081,  172  8. 

Studios  :  Haarlem,  Holland. 

Film  :  “  The  Hvpocrites.” 

Stage  :  Completed. 

Film  :  “  The  Lion’s  Mouse.” 

Stage  :  Completed. 

Granville  Productions. — 61.  Berners- 
Street,  W.l.  Museum  252  8. 

Film  :  “  Hennessey  of  Moresby.” 
Director  :  Fred  Le  Roy  Granville. 
Stage  :  Starting  shortly. 

Hardy.- — 13,  Gerrard  Street.  W.l 
Gerrard  2284. 

Harma  Clarendon. — 16.  Limes  Road, 
Croydon.  Croydon  921  and  20  84. 

Hepworth  Picture  Plays. — Walton- 
on-Thames.  Walton  16. 


Route  : 
7.0,  8.0, 


From  Waterloo 
9.20,  10.20,  11.20 


A.m., 

p.m. 


3.20,  4.20,  4,54. 
5.54,  6.15,  6.20, 
.55,  9.20,  10.20, 

A.m.,  7.59,  8.29, 


12.20,  1.20,  2.20, 

5.15,  5.20,  5.44, 

7.0,  7.20,  8.20,  i 
11.34. 

From  Walton  : 

8.41,  8.56,  9.9,  9.46,  10.10,  11.10 
p.m.,  12.10,  1.10,  2.10,  3.10,  4.11. 

5.10.  5.44,  6.10,  7.10,  8.10,  9.10, 

10.10.  10.35.  11.34. 

N.B. — There  is  a  frequent  train 
service  to  and  from  Shepperton  from. 
Waterloo.  The  station  is  as  near  as 
Walton  to  the  studio. 

Film  :  “  Pipes  of  Pan.” 

Star  :  Alma  Taylor. 

Scenarist  :  George  Dewhurst, 
Director  :  Cecil  M.  Hepworth. 
Stage  :  Completed. 


Film  :  “  Lily  of  the  Valley.” 

Stars  :  Henry  Edwards  and  C'hrissie 
White. 

Director  :  Henry  Edwards. 

Stage  :  Completed. 


Film  :  “  Mist  in  the  Valley.” 

Star  :  Alma  Taylor. 

Director  :  Cecil  M.  Hepworth. 
Stage  :  Completed. 

Ideal. — Boreham  Woods,  Elstree, 
Herts.  Elstree  52. 

Route  :  Trains  from  St.  Pancras  : 
A.m.,  7.30,  8.0,  8.50,  9.55,  10.45. 
11.48;  p.m.,  12.33,  1.13,  2.35, 

3.55,  4.45,  5.12,  6.2,  6.45,  6.50„ 
7.20,  8.8,  9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras : 
9.48,  10.39,  11.25,  12.31.  1.8,  2.15, 
3.3,  3.56,  4.56,  5.29,  6.18,  6.55, 
7.36,  8.54,  10.14,  11.3. 

Studio  Manager  :  F.  A.  Kendrick. 
Art  Director  :  J.  T.  Garside. 


Film  :  “  This  Freedom.” 
Director  :  Denison  Clift. 
Star  :  Fay  Compton. 
Scenarist  :  Denison  Clift. 
Stage  :  Completed. 


Film  :  “  The  Hawk.” 
Director  :  Frank  Crane. 
Star  :  Chas.  Hutchison. 
Stage  :  Tenth  week. 


Film  :  “  Out  to  Win.” 
Director  :  Denison  Clift. 
Stage  :  Scheduled. 


Film  :  “  Mary  Queen  of  Scots.” 
Star  :  Fay  Compton. 

Director  :  Denison  Clift. 

Stage  :  Scheduled. 

Film  :  “  Did  Bill  Through  the  Ages. 
Director  :  Thomas  Bentley. 

1  Stage  :  Scheduled. 


Reoenfliss  Quality  &  Service  WA^'R  ST 

100%  FILM  1001  •' 

AMFclaw  Developers  &  Printers  LO(JROH- 


15 


THE  MOTION  PICTURE  STUDIO 


January  27,  192 


3 


Studio  Artistes 

Should  not  miss  the 
original  and  only  Film 
Fan  Monthly  Magazine 


Order  it  from 
your  Newsagent. 


Send  the  Editor  of  “The  Picturegoer”  any  news 
of  your  movements  and  incidents  that  would  make 
interesting  “copy”  and  copies  of  all  your  most 
up-to-date  portraits  and  stills. 


THE  PULSE  OF  THE  STUDIO — Continued  from  previous  page, 


Isle  of  Man  Films. — The  Manx  Studios 
Isle  of  Man. 

Not  working. 

Milton. — Weir  House,  Broom  Ttoad, 
Teddington.  Kingston  1617. 

Studio  closed  for  structural  altera¬ 
tions. 

Minerva  Films. — 110,  Victoria  Street 
S.W.l.  Victoria  7545. 

Not  working. 

Napoleon  Fdms  Ltd. — 28,  Denmark 
Street,  W.C.  2.  Regent  975.  Semi¬ 
cofilm. 

Not  working. 

Progress  Film  Co. — Shoreham-on- 
Sea.  Shoreham  19. 

Quality  Films. — Windsor  Studios 
Catford.  Lee  Green  94  8. 

Films  :  One-  and  two-reelers. 

Director  :  George  A.  Cooper. 

Studio  Manager  :  S.  Folker. 

Cameraman  :  R.  Terreneau. 

Stage  :  One  a  week. 

Raleigh  King  Productions. — Wat- 
combo  Hall,  Torquay. 

Studio  Vacant. 

Regulus  Films. — 4  8,  Carnaby  Street, 
Regent  Street,  W.l. 

Not  working. 

Samuelson  Film  Co. — Worton  Hall, 
Isleworth. 


Seal  Productions.  —  171,  Wardour 

Street.  Regent  4329. 

Not  working. 

Screenplays. — Cranmer  Court,  Clap- 
ham.  Brixton  2956. 

Route  :  ’Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll. — Temple  Road,  Cricklewood. 

Willesden  3293. 

Route  :  ’Bus  No.  16. 

Studio  Manager  :  J.  Grossman. 

Film  :  “  Top  of  the  World.” 
Director  :  Maurice  Elvey. 

Stage  :  Scheduled. 


Film  :  “  Open  Country.” 

Director  :  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  David 
Hawthorne. 

Cameraman  :  A1  Moise. 

Stage  :  Completed. 


Film  :  “  Sherlock  Holmes  ”  Stories. 
Director  :  George  Ridgwell. 

Star  :  Eille  Norwood. 

Cameraman  :  A1  Moise. 


Film  :  “  The  Sign  of  Four.” 

Director  :  Maurice  Elvey. 

Star  :  Eille  Norwood. 

Cameramen  :  Jack  Cox  and  A1  Moise. 
Stage  :  Eleventh  week. 


Film  :  “  The  Wandering  Jew.” 
Star  :  Matheson  Lang. 
Director  :  Maurice  Elvey. 
Stage  :  Starting  shortly. 


Film  :  “  Guy  Fawkes.” 
Director  :  Maurice  Elvey. 
Stage  :  Scheduled. 


Films  :  Two-reel  dramas.  “  Fu 
Mauchu.” 

Director  :  A.  E.  Coleby. 

Stage  :  Starting  shortly. 

J.  Stuart  Blackton. — Bush  House, 
Aldwych.  Central  1935. 

Walker-Boyd  Sunshine  Productions. 

Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. — Princes 
Studios,  Kew  Bridge.  Chiswick 
574. 

Route  :  ’Bus  Nos.  27,  105. 

Broad  Street  to  Kew.:  A.m.,  8.2, 


8.20, 

8.45. 

9.0, 

9.47, 

10.17, 

10.4  7, 

11.17 

,  11.47  ;  p.m.. 

12.17, 

12.47, 

1.17, 

1.4  7, 

2.17. 

,  2.47 

3.17, 

3.47, 

4.17, 

4.31, 

5.3, 

5.17 

,  5.32, 

5.40, 

6.2, 

6.20, 

6.50, 

7.17 

,  7.47, 

8.17, 

8.4  7, 

9.17, 

9.30. 

Kew  Bridge  to  Broad  Street  : 
A.m.,  9.40,  10.8,  10.38.  11.8, 
11.38;  p.m.,  12.8,  12.38,  1.8, 

1.38,  2.8,  2.38,  3.8,  3.38,  4.8,  4.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20, 

6.38,  7.8,  7.38,  8.8,  8.38,  9.8,  9.38, 
Film  :  “  The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Florence  Turner,  Kathleen 
Vaughan,  Nora  Swinburne,  Fred 
Wright,  and  James  Knight. 

Stage  :  Cutting  and  assembling. 


Film  :  “  Tbe  Lady  Trainer.” 
Star  :  Violet  Hopson. 
Scenarist  :  J.  Bertram  Brown. 
Cameraman  :  G.  Toni. 
Director  :  Walter  West. 

Stage  :  Sixth  week. 


Film  :  “In  the  Blood.” 

Director  :  Walter  West. 

Stage  :  Commencing  March  1st. 

Welsh  Pearson. — 41-45,  Craven  Park, 
Harlesden,  N.W.10.  Willesden  2862. 
Route  :  ’Bus  No.  18. 

Film  :  “  Tip-Toes.” 

Star  :  Betty  Balfour. 

Director  ;  G,  Pearson. 

Cameramen  :  Percy  Strong  and 
Emile  Lauste. 

Stage  : '  Fourth  Week. 


EVERYBODY 

IN  BRITISH  PICTURES 

will  be  at  tbe  Second 

KINEMA  CLUB 

CARNIVAL 

at  the  HOTEL  CECIL  on 
MONDAY,  FEBRUARY  5. 


Dancing  from  10  p.m.  to  3  a.m. 
Valuable  Prizes  for  the  best 
Fancy  Costumes. 

New  and  Novel  Attractions 


TICKETS  (  Supper  £1  :  5  :  O 

Single,  maybe  obtained  from  BILLIE  BRISTOW 
(Organiser),  175.  Wardour  Street,  W.l  ;  Tbe 
Kinema  Club  (Secretary  s  Office),  9,  Great 
Newport  Street,  W.C.,  or  any  Member  of  the 

Committee. 

YOU  will  be  there! 


Make  Every  Day 
A  Good  Day  .  . 

in  your  Studio 
by  using 


MANUFACTURED 

WEATHER 


Write  for  treatise — 

CARRIER  ENGINEERING 
COMPANY,  LTD. 

24,  Buckingham  Gate,  London. 


Printed  and  Published  bv  ODHAMS  PRESS  Ltd.,  Long  Acre,  Januaiy  27,  1923 


Tht  Motion  Picture  Studio.  Saturday ,  February  3,  1923 


btion  aeture  Studio 


The  (DTficiai  Organ  of  the  l<oinema  Club 

Vol.  II  No.  87 


Saturday,  February  3,  1923 


Registered  at  the  G-P.O.  as  a  newspaper. 


Twopence 


Graham  Cutts 

Producer  of 

The  Wonderful  Story 
Flames  of  Passion 

and 

Paddy  The-Next-Best-Tiing 

Now  running  at  The  Scala  Theatre 


9* 


Permanent  Address 

126  KENILWORTH  COURT,  PUTNEY 

Oe/ephone  Putney  3056 


THE  MOTION  PICTURE  STUDIO 


February  3,  1923 


ARTISTES 


jft/L 1  K| 

IPy.  g 

THELMA 

MURRAY 

Character  &  Emotional  parts 
Leads  for  Stoll,  Masters, 
Raleigh  King,  B  &  C.,  etc. 
All  corns  :  “LYNDALE.” 
OAKLEY  RD.. 
WHYTELE A FE,  >URREY, 
or  to  the  Kinema  Club. 

NOEL  GRAHAME 

Heavy  Character  &  Comedy. 
Heavy  lead:  “Bladys  of  the 
Stewponey,”  “Cost  of  a  Kiss,” 

“  Britain’s  Naval  Secret,”  etc. 
11,  Clanricarde  Gardens, 

Hyde  Park,  W.2. 
Park  4514. 
and  Kinema  Club. 

Photo  bv  Navana. 

isspfi,' 

K  m 

pWai  *  »  fgtS 

mm 

1  MARY  ODETTE 

Just  concluded:  “The  Lion’s 
Mouse”  an  1  “The  Hypo¬ 
crites’’ 

Latest  Releises  : 

“  Wonderful  Year  ’ 

“All  Roads  Lead  to  Calvary.’’ 
All  corns.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av.,W.i 
Resent 

GORDON  BEGG 

Dramatic — 'Character — 
Humorous. 

English,  Continental, 
American  Experience, 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W. 11, 
Telephone  :  Battersea  21. 

1-  ^  J 

1|  4  S 

,  >5  ,  .  WfrS's 

DEZMA  DU  MAY 

1  Long  Odds  ”  (Stoll),  “  Rob 
Roy”  (Gaumont),  “  Pearl  for 
Pear]  ”  (Quality),  also  Welsh- 
Pearson,  Alliance  Screen 
Plays,  Ideal,  Davidson’s. 

170,  HIGH  ROAD, 

ILFORD  ,  E 

GEORGE  KEENE 

Star  Lead.  Disengaged. 
Featuring—"  Black  Sheep,” 
“Through  Stormy  Waters,” 

“  Nothing  Else  Matters,’’ 

“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 

Address  : 

121b,  Church  St.,  Croydon 
’Phone  :  Croydon  835. 

Wmi '  * '  f  ! 

•5?  •***•'  I 

jLsi  j 

rosina  Wright. 

“Sister  Ursula”  in  “  Per- 
petua  Mary  ’  (Famous-Lasky) 
“  The  Nurse”  to  “The  Grass 
Orphan  ”  (Ideal  Film). 
“Phillipa”  in  “Open  Country” 
(Stoll  Film). 

8  years  Film  experience. 

8a,  GOLDEKS  WAY, 
GOLDERS  GREEN, N.W  11 
or  Kinema  Club. 

ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 
Character  Parts,  “  Mrs.  Gatty,”  in  “Christie 
Johnstone  ”  (Broadwest),  “  Margaret  Howe” 
in  “  Beside  the  Bonny  Brier  Bush  ”  (  Lasky), 
“  Nanny”  in  “  Tell  your  Children  ’’  (Interna¬ 
tional)  “Anna  ”  in  “  The  Prodigal  Son  ”  (Stoll). 

33.  Campden  St.,  Kensington.  W.8. 
Tel.  :  Park  3623. 

PHOTO 

BLOCK 

THIS  SPACE 
TO  LET 

j£3  for  13  insertions, 
including  cost  of 
making  block. 

F.  C  R 

E 

M  L  I  N  . 

ARTISTES 


Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club 


ARTHUR  PUSEY 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagoon”  for  I.V.T.A. 

All  corns.  :  FRANK  ZEITLIN, 

3,  GT.  WINDMILL  STREET,  W.l. 


THIS  SPACE  TO  LET 
£2  10  0  for  13  insertions 


MILTON  ROSMER 

INVITES  OFFERS. 

16,  Weymouth  Street,  W.i.  'Phone  :  Langham  2243 

MARIE  AULT, 

Character  and  Comedy. 

235,  King  s  Road,  Chelsea. 

WARREN  HASTINGS, 

5,  POND  PLACE, 

CHELSEA,  S.W.3. 

INVITES  OFFERS. 

H ARCOURT  TEMPLEMAN, 

Assistant  Director  ( late  Screen  Plays). 

At  Liberty.  Returned  from  Tour. 

Coins.  :  33,  Ennismore  Avenue,  Chiswick,  W.4. 


THIS  SPACE  TO  LET 
£ 2  10  0  for  13  insertions 


PRODUCER.  . 


•  9 


W.  P.  KELLINO, 

Gaumont  Studios. 

All  coins,  after  January  29  : 

STOLL  STUDIOS,  CRICKLEWOOD. 
Cameraman,  Basil  W.  G.  Emmott. 

COSTUMIER.  .  .  . 

Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W. 

’Phone;  Gerrard  612. 


SCENARISTS  » 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK,” 

“  M'LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.l. 

’Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  630. _ 

GERALD  DE  BEAUREPAIRE, 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 


CAMERAMEN.  .  .  . 

ALFRED  H.  MOISE. 

PREMIER  CAMERAMAN  — 

:  SCIENTIFIC  OUTFIT.  : 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  Street,  W.C.2. 

_  _  ’Phone — Regent  630. 

L.  G.  E  GROT 

EXPERT  CAMERAMAN. 

“The  Better  ’Ole,”  etc.,  etc.,  .... 
. “  The  Wonderful  Story.” 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.  W.2. 

’Phone  :  Streatham  3085. 

PUBLICITY  .  .  .  . 


“Let  me  handle  your  publicity  account.” 
Information  gladly  given. 

JOHN  CORNYN 

Advertising  ::  Publicity 

231,  BYRNE  BLDG.,  Los  Angeles, 

CALIFORNIA. 


A  DOG 

with  a  wonderful  character,  accompanied 
by  his  master.  Invites  offers. 

C/o  “  M.P.  Studio.” 

WILLIE 

DAVIES 

KINEMA  ART  EXPERT , 

161a,  HIGH  STREET, 
KENSINGTON,  S.W. 

Latest  Super  Productions  : — - 

“  Carnival.”  “  Bohemian  Girl.” 
“  Love  in  a  Whirlwind.” 


ADVERTISEMENT  RATES 

Professional  Cards  : 

3-col.  cards,  including 

photo  block  -  -  £3  0  0  per  quarter  year 

3-col.  cards,  without 

photo  block  -  -  £2  10  0  ,,  „  „ 

Small  cards  -  17  6  ,,  ,,  ,, 

“Who's  Where”  (2  lines)  12  6  ,,  ,,  ,, 

Per  inch,  single  col. 

(3  to  page)  -  5  0,,  insertion 

To  Kinema  Club  Members  and  others — 

PICTURE  POSTCARDS 
-SUPPLIED 


From  your  own  Photo,  in  best  glossy  style  :  — 

One  position,  per  gross  :  -  -  17/6 
Two  positions,  Half  gross  of  each  -  30/- 

Single  Dozen  -----  3/5 

Enlargements,  each  -  10/6 

Samples  can  be  seen  at 
J  HE  PICTURE  SALON, 

—  88,  Long  Acre,  W.2.  — 


2 


February  3,  1923 


THE  MOTION  PICTURE  STUDIO 


THE 

MOTION 

PICTURE 

STUDIO 

Editorial  and  Advertisement  Offices: 

93,  LONG  ACRE,  LONDON,  W.C.2. 

Telephone:  Telegrams: 

Gerrard  Southernwood, 

98  TO  Rand,  London 

Vol.  2.  No.  87.  February  3,  1923 


>> 


The  “  Dope 
Nonsense 

r  I  'HE  harm  that  is  being  done  to  the 
British  film  industry  by  lurid  pub¬ 
licity  of  the  Hollywood  “  dope  ”  scandals 
is,  of  course,  only  a  reflex  of  the  unjust 
stigma  thus  laid  upon  the  whole  American 
picture-making  personnel.  Nevertheless, 
the  ordinary  newspaper  reader  is  not 
unnaturally  inclined  to  regard  the  whole 
industry  the  world  over  with  distrust. 
The  lay  Press  can,  if  it  will,  counteract 
these  misleading  and  damaging  impressions 
by  the  timely  publication  of  the  facts,  and 
wa  are  therefore  glad  to  note  in  our 
contemporary  the  People  last  Sunday, 
a  prominent  and  authoritative  indication 
of  the  personal  character  of  British  film- 
players  as  a  whole.  Such  articles  are 
necessary  unless  the  reckless  allegations 
lately  made  are  to  pass  unchallenged,  and 
we  thank  the  People  in  the  name  of  the 
studio  workers  of  this  country. 

British 

Achievement 

*  PHE  greater  activity  in  British  production 
A  as  compared  with  the  corresponding 
time  last  year  is  undoubted,  and  everything 
points  to  still  more  and  better  pictures 
from  our  studios  in  1923.  The  number  of 
noteworthy  British  Trade  shows  during 
the  first  two  months  of  the  New  Year  is 
larger  than  at  any  time  for  ten  years.  We 
mention  this  fact  because  much  will  depend 
upon  the  impressions  created  by  these  new 
pictures.  Upon  their  reception  by  the 
Trade,  Press  and  public  will  the  whole 
native  industry  be  judged  by  the  in¬ 
telligent  investor. 

The 

“  Stunters  ” 

MARGARET  ^ LEAHY  is  still  being 

“  boomed,”  although  the  more 
hysterical  portion  of  the  gush  seems  to  be 
on  the  wane.  The  fact  that  she  was  found 
unsuitable  for  the  originally  designated 
part  in  ”  Within  the  Law,”  and  is  now 
relegated  to  playing  opposite  a  famous 
slap-stick  comedian  who  invariably  dom¬ 
inates  his  own  clever  comedies,  points  to 
a  realisation  on  everybody’s  part  that  stars 
cannot  be  made  from  shop-girls  overnight 


— an  impression  which  the  Daily  Sketch, 
had  it  any  real  sense  of  the  facts,  would 
never  have  have  created.  Meanwhile, 
we  should  like  to  see  the  laudable  activities 
of  the  Hollywood  anti-drug  crusade  ex¬ 
tended  to  cover  the  fatuous  publicity 
”  dope  ”  respecting  Margaret  which  still 
finds  its  way  into  the  columns  of  the 
Hulton  newspapers. 

Rex  Wilson  s 
“  Academy  ” 

note  that  Rex  Wilson  has  begun 
advertising  in  theatre  programs 
his  ‘  Academy  of  Cinematic  Art.”  His 
offer  is  a  definite  and  tangible  one  to  place, 
after  “  instruction,”  in  his  own  pro¬ 
ductions,  ‘  all  to  whom  this  most  unique 
offer  appeals.”  We  most  strongly  urge 
all  those  who  have  the  real  interests  of  the 
Industry  at  heart  to  take  every  opportunity 
of  making  plain  to  any  enquirer  three 
important  facts.  First,  that  such  an 
offer,  so  far  from  being  “  unique,”  has 
been  made  time  and  time  again  by  persons 
often  of  very  doubtful  integrity.  Secondly, 
that  the  amateur  actor  is  not  calculated  to 
improve  the  status  of  British  production, 
which  continues  to  be  hampered  by  novices 
in  every  department  of  it.  Lastly,  that 
although  intending  pupils  may  be  able  to 
gratify  their  misguided  ambitions  by  seeing 
themselves  on  the  screen,  such  productions 
are  not  likely  to  be  financed  except  by  the 
pupils  themselves  directly  or  indirectly, 
and  that  such  pupils  will  render  their  own 
chances  of  getting  work  in  other  studios 
extremely  remote. 

Publicity 
by  Agent 

HE  newest  enterprise  of  Frank  Zeithn’s 
well-known  agency  is  a  pictorial 
monthly  containing  details  of  the  principal 
screen  players  who  have  authorised  him 
to  act  for  them.  It  is  a  novel  and  in¬ 
teresting  departure,  and  we  imagine  that 
its  attractive  get-up  and  informative  matter 
should  ensure  its  being  filed  for  reference 
wherever  it  goes.  Zeithn’s  activities  extend 
beyond  artistes’  engagements,  as  he 
announces  publicity  location  and  scenario 
departments.  His  claim  to  supply  “  first- 
class  scenarios  by  the  best-known  writers 
of  the  day,’  should  surely  solve  the  vexed 
story-shortage  problem. 

The  Carnival 
Rally 

EVERYBODY  of  note  in  the  Industry 
will  be  present  on  Monday  at  the 
Kinema  Carnival  at  the  Hotel  Cecil. 
Among  those  who  have  definitely  promised 
to  attend  are  Violet  Hopson,  Matheson 
Lang,  Henry  Edwards,  Chrissie  White, 
Ivy  Close,  Clive  Brook,  Dorothy  Fane, 
Flora  le  Breton,  Victor  McLaglen,  Valia, 
Marjorie  Hume,  David  Hawthorne,  Edith 
Bishop  and  Rex  Davis.  These  with  other 
well-known  stars  and  stage  celebrities  should 
prove  an  irresistible  attraction  to  the  public. 
The  prominent  directors  will  comprise 


J.  Stuart  Blackton,  Graham  Cutts,  Walter 
West,  Denison  Clift,  F.  Martin  Thornton 
and  George  Ridgwell  ;  and  the  renting 
and  exhibiting  sides  will  also  be  well  re¬ 
presented  from  all  parts  of  the  kingdom. 
Besides  the  dance  and  supper,  many  novel 
attractions  and  ”  stunts  ”  will  help  the 
revelry  along.  A  snow-storm  effect,  ex¬ 
hibition  mannequin  parade  by  Philip 
Moss’  girls  from  Murray’s,  and  side-shows 
conducted  by  well-known  personalities  in 
filmland,  are  among  them,  and  we  learn 
that  a  new  cocktail  has  been  invented  and 
a  new  fox-trot  specially  composed  for  the 
occasion.  Tickets  can  still  be  obtained 
from  Billie  Bristow,  175,  Wardour  Street, 
and  from  the  Hall  Porter  at  the  Kinema 
Club,  9,  Great  Newport  Street,  W.C.  2. 

Box-office 

Value 

N  conversation  with  us  this  week, 
Denison  Clift  agreed  that  the  im¬ 
portation  of  American  stars  for  British 
pictures  was  only  defensible  when  such 
players  had  a  real  box-office  value  in 
America — and  not  always  then.  Clift  feels 
strongly  that  a  few  of  our  native  players, 
handled  consistently  and  properly  exploited, 
could  hold  their  own  against  any  American 
stars.  Such  players  like  Fay  Compton 
(already  very  popular  on  American  screens, 
by  the  way),  Clive  Brook,  Betty  Balfour 
and  one  or  two  others,  he  is  [confident, 
will  in  the  ordinary  course  attain  world¬ 
wide  screen  fame.  No  one  can  touch  the 
good  British  artiste  in  certain  qualities, 
and  Clift,  with  all  the  good  will  towards 
and  admiration  for  American  players 
possible,  regards  their  use  in  British  pictures 
as  largely  a  business  expedient. 

The  Incautious 
Investor 

NE  of  the  most  remarkably  persistent 
phenomena  of  our  business  is  thet 
occasional  success  of  the  ”  wash-out  ” 
promoter  and  “  producer  ”  in  obtaining 
capital  from  the  credulous.  Without  the 
ordinary  testimony  of  successful  work  and 
reputation,  and  often  not  even  helped  by 
an  ingratiating  personality,  men  who  are 
either  a  laughing-stock  to  the  business,  or 
else  entirely  unknown  to  it,  manage  at 
intervals  to  persuade  those  who  are  pre¬ 
sumably  so  obsessed  with  the  glamour  of 
the  studio  that  they  will  not  make  the  most 
elementary  enquiries  into  advancing  money 
for  production .  Hardly  ever  does  anything 
profitable  result  to  those  who  are  foolish 
enough  to  trust  them,  and  it  is  sometimes 
argued  that  such  people  deserve  to  lose 
their  money.  We  do  not  agree.  Investors 
should  be  protected,  and  the  prestige  of 
the  decent  people  in  our  midst  preserved 
by  some  means  of  preventing  such  dis¬ 
creditable  projects.  We  can  think  of  no 
other  way  than  by  urging  upon  the 
potential  film-financier  the  most  careful 
investigation  of  the  reputation  and  bona- 
fides  of  those  into  whose  mercies  he 
delivers  himself. 


3 


THE  MOTION  PICTURE  STUDIO 


February  3,  1923 


LILLIAN 

DOUGLAS 


Sole  Agent  '■ 

SIDNEY  JAY. 


Now  Running  at  the  Scala  Theatre. 


STELLA  in  ..  “PERPECTUA.” 

( Famous  Players •  Lasky) 

EILEEN  GRIMSHAW  in  .. 

“SPORTING  DOUBLE.” 

( Davidson ) 

JUNE  CRISP  in  .. 

“SPORTING  INSTINCT." 

( Davidson ) 

HELEN  PLUGENET  in  .. 

“THE  HYPOCRITES.'’ 

(Hollandia) 

JESSIE  MARNE  in  .. 

“LITTLE  MOTHER." 

{Ideal) 

POPPY  TYRRIL  in  .. 

“MASTER  OF  CRAFT." 

(Ideal) 

HESTER  WORSLEY  in  .. 

“A  WOMAN  OF  NO 
IMPORTANCE.”  (ideal) 


and 


EILEEN  ADAIR  in 

“  PADDY-THE-NEXT-BEST-THING  "  ( Graham -  Wilcox) 


ARTHUR 

BARNES 

Assistant  Director  to 
GRAHAM  CUTTS 

on 

“  PADDY  -  THE  -  NEXT  - 
BEST -THING” 

(Graham- Wilcox  Production  now 
running  at  the  Scala  Theatre) 

174,  Wardour  Street,  W.l. 


YOUR 

TICKET 

awaits  you  at 

9,  Great  Newport  St. 
175,  Wardour  Street 
93,  Long  Acre, 

See  page  6. 


who  is  playing 
General  Adair 
with  Mae  Marsh 


now  showing  at 
the  Scala  Theatre. 


He  has  played  leading  parts  also  in 

“The  Lady  Clare’’ — “Snow  in  the  Desert” — “Auction  Mart” 
“Face  at  the  Window”  —  “Inheritance” — “Headmaster”  — 

“  Sword  of  Fate  ” — “  Imperfect  Lover  ” — “  Gipsy  Cavalier  ” 

“  Rob  Roy,”  etc. 


SIMEON 

STUART 


PADDY- 

THE-NEXT- 

BEST-THING. 


The  Vade  Mecum  of 

the  Film  Business: — 

THE 

KINE 

YEAR 

BOOK 


1923  Issue  ready  shortly 


ORDER  NOW. 


PRICE  FIVE  SHILLINGS 


4 


February  3,  1923 


THE  MOTION  PICTURE  STUDIO 


HIGH  LIGHTS 

Intimate  Studio  and  Club  Gossip 


brilliant  assembly  of  iFilmdom  was 
at  the  Sc  ala  Theatre  last  Friday  to 
see  the  premiere  of  “  Paddy — the  Next 
Best  Thing-.”  Graham  Cutts,  who  was 
the  recipient  of  innumerable  congratula¬ 
tions  during  the  interval,  made  a  brief 
speech  of  thanks,  at  the  close.  Cutts’ 
rise  to  the  front  rank  has  been  rapid 
but  well-merited.  I  flippantly  assured 
him  that  he  had  no  right  as.  a  new¬ 
comer  to  make  such  good  pictures, 
and  he  quietly  .reminded  me  that  he 
had  been  an  exhibitor  for  nearly 
twenty  years. 


* 


* 


|[  do  not  consider  this  a  valid  reason 
for  every  exhibitor  to1  turn  director. 
Such  a  prospect,  indeed,  would  be 
rather  terrifying !  At  the  same  time, 
Cutts’  experience  as  a  showman  can 
hardly  fail  to  be  of  real  use  to.  him  as 
regards  knowledge  of  public  require¬ 
ments. 


* 


* 


putts’  able  chief  assistant  on 
TPaddy — the:  Next  Best;  Thing,”  by 
the  way,  was  Arthur  Barnes.  Barnes 
was  formerly  continuity  writer  at  the 
Famous  Players-Lasky  Islington 
studios  to  Paul  Powell  and  John  S. 
Robertson,  and  afterwards  assistant  to. 
J.  Stuart  Blackton  on  “A  Gipsy 
Cavalier.” 


* 


“  JN stening- in  ”  as  a  recreation  for 
players  on  the  floor  in  between  the 
scenes  is  the  newest  way  of  filling  up 
the  waits  which  are  apparently  inevit¬ 
able  and  often  wearisome.  Last  week 
a  Mareon iphone  V2  set  was.  installed 
by  the  Walturdaw  Company  at  the  B. 
and  C.  studios  for  this  purpose.  The 
wireless  receiving  set  struck  a  note  of 
pleasing  incongruity  to  the  historical 
scenes  and  dresses.  As  a  means  of 
whiling  away  the  time,  “listening-in  ” 
should  prove  a  pleasant  variation  on 
vingt-et-un  or  inventing  personal 
reminiscences. 

*  *  * 

Jmpressions  of  England  from  Ameri¬ 
can  stars  are  generally  amusing 
reading.  Richard  Dix,  for  instance, 
who  was  playing  for  Maurice  Tourneur 
recently  in  London,  says  “the  Ameri¬ 
can  girls  have  the  English  beat  a 
thousand  ways  for  looks.”  One 
wonders  where  he  could  have  buried 
himself  in  off-hours,  until  one  reads  : 
“People  in  England,  in  all  ranks  of 
life,  are  better  informed  than  are 
Americans.  Even  the  little  barmaids, 


bless  their  hearts,  are  well  read,  and 
discuss  H.  G.  Wells  over  their 
shoulders  whilst  they  draw  the  foam¬ 
ing  ale.”  Now  we  know! 

*  *  * 

“  ^he  Prodigal  Son  ”  must  be,  we 
fancy,  the  longest  picture  ever 
“shot”  in  this  country.  After  con¬ 
siderable  excisions  it  has  been  decided 
to  divide  it  into,  two  long  features^ — 
each  a  complete  entity,  but  one  the 
complement  of  the  other.  Even  then, 
we  understand,  that  a  very  lengthy 
footage  is  being  scrapped  altogether. 
It  is  being  shown  to-morrow  (Sunday) 
at  6  p.m.  at  Co  vent  Garden  Opera 
House. 


JJerbert  Wilcox  himself  is  to  direct 
“  Chu  Chin  Chow  ”  for  Graham- 
Wilcox  Productions.  We  understand 
that  Rene  Guissart  will  be  the  camera¬ 
man.  This  will  be  Wilcox’s  first 
attempt  at  direction — and  certainly  an 
ambitious  one  at  that !  It  will  be 
interesting  to  see  what:  can  be  made 
of  this  subject,  the  popularity  of  which 
is  unquestionable.  The  “book”  is 
almost  a  suburban  pantomime  ver¬ 
sion  of  “The  Forty  Thieves,”  and 
the  enormous  attraction  at  His 
Majesty’s  of  colour  will  be  missed — 
unless  (which  would  be  really  a  good 
idea)  it  is  decided  to  use  colour 
photography.  Here  is  a  real  subject 
for  it ! 

*  *  * 

Jncidentally  I  learn  that  Wilcox  has 
secured  the  screen  rights  of 
“Loyalties.”  We  congratulate  him 
unreservedly.  Few  greater  screen 
subjects  of  to-day  could  be  made  into 
a  better  proposition,  sympathetically 
handled.  Thank  goodness  we  shall 
be  spared  an  American  distortion  of  it ! 


* 


* 


^he  experiment  of  Ideal  Films,  Ltd., 
in  inviting  exhibitors  from  all 
parts  of  the  country  to  be  their  guests 
in  London  to  see  their  three  new 
British  pictures  has.  at  least  the  ad¬ 
vantage  of  being  a  real  inducement  to 
attend  Trade  shows.  It  also:  looks  as 
though  this  enterprising  and  progres¬ 
sive  producing  house  were  fairly  con¬ 
fident  of  the  reception  awaiting  their 
offerings.  Since  their  program  pro¬ 
duction  ceased,  the  Ideal  standard  has 
enormously  improved,  and  under  their 
banner  *  some  of  the  very  best  new 
British  material  has  been  issued. 


^  he  lure  of  the  screen  is.  responsible 
for  much.  Young  girls  constantly 
leave  home  and  escape  from  schools, 
according  to*  tire  Press  reports,  to  go. 
into  film  work.  Some  such  .case  is 
reported  almost,  weekly.  We  doubt 
if  that  is  the  real  reason  in  many 
cases ;  but  then  they  are  encouraged 
by  many  kinds  of  people  to  believe 
that  a  golden  future  may  await  them 
in  return  for  easy  work.  Freaks,  like 
a  recently  discovered  fat  boy,  also 
turn  to  the  films  as  a  likely  occupation. 
Truly  our  business  seems  to  be  re¬ 
garded  as  a,  haven  of  refuge  by  those 
who  find  it  difficult  to  obtain  ordinary 
steady  work  and  those  who  cannot 
keep  jobs  when  they  get  them.  In 
the  minds  of  many  it  is  a  dumping- 
ground  for  the  oddities  and  incom¬ 
petents  of  humanity. 

*  *  * 

rJTromas  Bentley’s  new  Ideal  picture, 
“Greensea  Island,”  has  been  re¬ 
named  “Through  Fire  and  Water.” 
With  all  possible  deference,  we  prefer 
the  original  title,  and  regard  the 
change  a,s  an  example  of  unwise  con¬ 
cession  to  crude  showmanship  appeal, 
which  will  prejudice  many  who  see  the 
Posters.  *  *  * 

J^Jugh  E.  Wright  is  interested  in  the 
“Screen  Follies,”  a  concert  party 
of  seven  artistes.  Hugh  has  been  re¬ 
sponsible,  with  iWolseley  Charles,  for 
the  lyrics,  music  and  dialogue.  When 
are  we  going  to  see  the  party?  The 
Kinema  Club  Entertainment  Com¬ 
mittee  please  note ! 

*  *  * 

^he  latest  addition  to  the  cast  of 
“Fires  of  Fate,”  which  Tom 
Terriss  will  direct  for  Gaumont,  is 
Stewart  Rome,  whose  experience  has 
been  most  varied  since  the  Broadwest 
and  Hepworth  days. 

*  "  *  * 

|  met  Anson  Dyer  in  the  Kinema 
Club  this  week.  He  has  resumed 
his  animated  cartoons,  and  is  full  of 

ideas  for  further  series  for  the  future. 
*  *  * 

“  ^jphe  Blue  Lagoon,”  which  features 
Arthur  Pusey  and  Molly  Adair 
has  just  reached  London  in  negative 
form  from  the  Johannesburg  studios 
of  African  Film  Productions,  Ltd., 
A  and  an  early  Trade  show 

|  is  expected. 


tVju^o^d1- 


5 


the  motion  picture  studio 


February  3,  1923 


Kinema  Club  News 

Catering — “Cannons” — and  the  Carnival 


New  Club  Catering 

WIE  catering  at  the  Club  is  experienc¬ 
ing  something  like  a  boom.  It  is 
now  under  the  direct  control  of  Major 
Foyle  and  the  House  Committee.  Cater¬ 
ing  is  always  a  thankless  business,  but 
those  responsible  are  considering  every 
possible  complaint  with  care.  At  present 
the  occasional  congestion  seems  at  times 
to  affect  the  service,  but  every  possible 
step  is  being  taken  to  reduce  even'  delay 
to  a  minimum,  and  every  suggestion  for 
the  improvement  of  the  conditions  will  be 
gladly  welcomed. 

Billiards — a  Match  and  an  Amusing 
Tournament 

On  Friday,  January  26,  the  Billiards 
Committee  formally  handed  over  to  the 
Club  the  new  table  which  has  been  so 
generously  subscribed  for  by  friends  of  the 
Club.  This  achievement  has  not  incurred 
the  least  expenditure  from  the  funds  of 
the  Cluh,  and  all  honour  goes  to  Tonv 
Fraser,  Alex.  G.  Hunter,  Harry  J.  Worth 
and  Arthur  Walcot,  who  have  succeeded 
in  extracting  the  needed  money  from 
various  sources  in  a  truly  wonderful  way. 
The  result  is  a  first-class  table  with  balls, 
marking-board,  carpet,  cues  and  decorated 
room. 

F.  L.  Mannock  and  Geoffrey  Benstead, 
in  brief  speeches  formally  and  figuratively 
handed  the  table  oyer  to  the  Club.  A 
Iramed  record  of  the  subscribers  has  been 
executed  and  now  adorns  the  billiard- 
room.  The  thanks  of  the  Club  were  ac¬ 
corded  the  donors  and  Committee  by 
George  Ridgwell. 

There  followed  a  most  interesting  ex¬ 
hibition  match  to  celebrate  the  occasion, 


FR T  FORD  has  finished  work  for 
British  Productions  at  Hove. 


H.  A.  Rendall  is  at  work  at  the  Beacons- 
field  Studios  on  the  interiors  of  “  The 
Starlit  Garden.” 

Kenneth  Gordon  has  returned  from 
Switzerland,  and  is  very  reserved  concern¬ 
ing  the  Kinema  Carnival  “  stunt  ”  which 
the  members  of  the  K.C.S.  and  others  will 
perpetrate  on  Monday  at  the  Hotel  Cecil. 

G.  Monard,  the  French  cameraman  to 
Harold  Shaw  and  the  late  George  Loane 
Tucker  in  the  old  London  Film  Co.  days, 
is  now  back  in  London.  Among  the  pic¬ 
tures  on  which  he  turned  were  “  The 
Christian,”  “  O.H.M.S.,”  ‘‘England  Ex¬ 
pects,”  “  Bootle’s  Baby,”  “  Heart  of  a 
Child,”  “  Sorrows  of  Satan,”  “  Nan, 
(mod  for  Nothing,”  and  ‘‘The  Shula- 
mite.” 


when  W.  Cook  (second  of  a  line  of  great 
professionals)  conceded  Mr.  J.  J.  Ashley, 
who  is  now  in  the  Amateur  Champion¬ 
ship,  200  in  600  up. 

Some  excellent  breaks  included  108,  76, 
75,  59  and  35  by  Cook,  whose  close  can¬ 
non  play  was  most  attractive,  and  38 
(twice)  35  and  26  by  Ashley.  The  interval 
scores  were  331-301  in  Ashley’s  favour. 
Finally  Cook  was  victorious  by  52  points. 
Scores  :  Cook  600 ;  Ashley  548. 

Cook  afterwards  gave  a  fascinating  dis¬ 
play  of  fancy  strokes. 

O'n  Sunday  last,  a  most  enjoyable 
“  Mum  ”  tournament  was  held,  in  which 
ladies  took  part.  The  ’disqualifications 
were  most  trying.  Speaking,  failing  to> 
mark  or  fetch  rests  and  balls,  playing 
with  wrong  ball  and  placing  butts  of  the 
cues  on  the  floor  penalised  many  entrants. 
Some  of  the  ladies’  ‘‘stances  ”  were  most 
instructive.  One  would  have  thought, 
after  seeing  some  of  them  in  the  general 
lounge,  that  they  would  have  known  how 
to  hold  a  good  “bridge-hand.” 

The  heats  were  10  up  for  men  and  5  up 
for  ladies,  and  conducted  on  the  “  knock¬ 
out  ”  principle.  The  winning  ladies  were 
Irene  Ridgwell  and  Mrs-  A.  B.  I  meson, 
and  the  victorious  gentlemen  Knighton 
Small  and  P.  L.  Mannock.  Fred  Rains 
was  a  most  vigilant  referee. 

The  Kinema  Club  Carnival 

When  this  appears  in  print  the  Carnival 
will  be  within  48  hours  of  realisation, 
but  we  urge  all  members  and  others  to 
rally  in  support  of  the  Club,  whose  funds 
are  in  real  need  of  the  goodly  sum  that 
the  Carnival  on  Monday  is  confidently 


The  usual  meeting  of  the  Kine-Camera- 
rnen’s  Society  was  held  on  January  26, 
and  a  report  of  the  general  meeting  last 
(Friday)  night  at  the  Kinema  Club  will 
appear  in  our  next  issue. 


Geoffrey  Barkas  asks  us  to  record  the 
fact  that  he  was  responsible  for  the  photo¬ 
graphy  of  practically  all  the  “  Diver  ” 
subject  undersea  scenes,  and  also  for  the 
whole  camera  work  in  “  Marine  Parade.” 
Both  these  pictures  were  shown  by  British 
Instructional  Films  on  January  24  at  the 
Shaftesbury  Pavilion, 

S.  BALBONI  IN  CALIFORNIA 

News  has  just  come  to  hand  of  Silvano 
Balboni,  whose  long  association  with  the 
London,  Broadwest  and  Seal  Companies 
amongst  others  was  crowned  with  the  bril¬ 
liant1  work  in  “  Shifting  Sands  ”  for  Fred 
le  Rov  Granville. 

Balboni  is  now  with  Lorimer  Johnson  in 
Universal  City,  and  is  engaged  on  a  ver¬ 
sion  of  Dickens’  “  The  Cricket  on  the 
Hearth.” 


anticipated  to  realise.  The  outside  public 
are  in  for  a  wonderful  evening. 

All  sorts  of  attractive  competitions  are 
to  be  held,  including  a  Living  Roulette 
Competition,  of  which  Victor  McLaglen 
will  have  charge.  James  Knight,  dis¬ 
guised  as  a  bookmaker,  will  have  charge 
of  the  bran  tub,  assisted  by  a  number  cf 
beautiful  film  actresses  and  Bert  Dar- 
ley. 

Matheson  Lang,  Mrs.  Stuart  BUickton, 
Florence  Turner  and  Marjorie  Hume  are 
amongst  the  judges,  whilst  Simeon  Stuart 
will  appear  as  the  Sultan  in  Dacia’s  sym¬ 
bolic  dance,  during  which  Maisie  Evans 
(who  is  at  present  playing  in  ‘‘Polly”) 
will  sing. 

Flora  le  Breton  will  have  Mr.  Davico 
Vincent  as;  her  partner  for  the  Exhibition 
dance  which  she  is  to  give. 

Numbers  of  the  film  stars  who  are  to 
be  present  will  appear  in  the  costumes 
which  they  have  worn  in  recent  film  suc¬ 
cesses. 


NOVEL  RIGHTS  AND 
DISTRIBUTION  COSTS 

A  Publisher  Loses  His  Case 

N  the  King’s  Bench  Division,  on  Janu- 
arv  24,  before  Justice  Shearman,  F.  V. 
White  and  Co;.,  Ltd.,  Buckingham  Street, 
Strand,  were  plaintiffs  in  an  action  in 
which  they  claimed  from  Marchesse  Guido 
Serra  di  Cassano,  a  sum  of  ^263  15s., 
balance  of  royalties  on  the  film,  ‘‘The 
Top  Dog.” 

The  plaintiffs’  publishers  were  the 
owners  of  the  copyright  in  the  novel  “  The 
Top  Dog,”  and  under  an  agreement  be¬ 
tween  the  parties  they  granted  to  the 
defendant  a  licence  for  five  y'ears  of  the 
kinema  rights  in  the  novel.  The  plaintiffs 
were  to  receive  for  this  a  percentage  in 
royalties  upon  the  gross  receipts  which  the 
defendant  received  as  the  producer  of  the 
film. 

The  parties  had  agreed  as  to  the  gross 
receipts  which  the  defendants  had 
obtained  in  connection  with  producing 
and  renting  the  film,  but  a  dis¬ 
pute  had  arisen  as  to  whether  or  not  the 
defendants  were  entitled  to  deduct  from 
the  gross  receipts  which  they  as  pro¬ 
ducers  had  had  to  pay  to  the  distributors. 
The  plaintiffs  contended  that  the  defen¬ 
dants  were  not  entitled  to  deduct  this.  The 
defendants  admitted  liability  for  a  sum 
of  ;6'8S  4s.  6d.  and  paid  this  amount  into 
court. 

It  was  agreed  that  defendants  had  sub¬ 
let  the  rights  to  distribute  the  film  to  the 
Walturdaw  Company,  and  it  was  in  re 
spect  of  sums  in  this  connection  that  the 
dispute  arose. 

His  lordship  said  that  having  read  the 
agreement  and  documents  in  connection 
with  the  case,  he  had  come  to  the  conclu¬ 
sion  that  the  defendants  had  acted  within 
their  rights  and  there  must  be  judgment 
In  their  favour,  the  plaintiff  to  have  costs 
up  to  the  payment  into  court,  and  the  de¬ 
fendants  those  after. 


C  ameramen’s  Section 

News  and  Views  and  Record  of  Activities 

of  Kine-Cameramen 


6 


February  3,  1923 


THE  MOTION  PICTURE  STUDIO 


Reconstructing  British  Production 

II. — Destruction  and  Construction 


by  FRANK  A.  TILLEY 


tJ^HERE  was,  in  an  article  a  couple  of 
weeks  ago  in  the  Manchester 
Guardian,  one  of  those  curious  half- 
thoughts  that  appear,  at  first  sight,  to  be 
a  fundamental  truth,  but  on  analysis  are 
seen  to  be  almost  wholly  untrue. 

It  was  this  :  “  And  since  the  only  chance 
for  the  kinema  to  live  as  an  art  is  to  die 
as  a  business  —  since  there  will  be  no 
phoenix  without  ashes  —  w'e  should  be 
grateful  to  every  bad  film  that  disfigures 
the  screen  to-day,  to  every  false  hope 
raised  and  broken,  because  each  one  is 
hurrying  forwards  the  end  and  the  begin¬ 
ning  of  a  lifetime.” 

That  seems  to  be  a  profound  piece  of 
observation,  but  I  do  not  think  it  can  be 
maintained  on  a  logical  parallel  with  any 
■other  of  the  arts. 

A  Future  Art. 

Let  us  assume  that  the  creation  of 
motion  pictures  is — or  can  become — an  art. 
Is  that  a  sound  reason  for  postulating — 
nay,  asserting— that  when  it  does  become 
an  art  it  will  cease  to  exist  as  a  business? 

Surely  such  an  assumption  is  unfounded, 
and  is  unsupported  by  what  has  hap¬ 
pened,  and  is  still  happening,  in  all  the 
other  arts. 

Architecture,  one  would  suppose,  k  not 
yet  dead  as  an  art.  Has  not  C.  W.  R. 
Nevinson  said  that  America’s  ideas  of  art 
are  confined  to  her  railway  stations  and 
hotel  bathrooms?  Yet  architecture  cer¬ 
tainly  survives  as  a  business,  if  the  ap¬ 
pearance  of  my  architect  friends  is  to  be 
trusted ! 

So,  too,  does  music — either  the  practice 
or  the  publishing  of  it.  But  it  has  not  so 
far  ceased  to  exist  as  an  art,  in  spite  of 
revue  and  jazz. 

Nearer  Home. 

Painting  —  and  here  w'e  are  getting 
nearer  home — still  contrives  to  live  as  an 
art,  though  Chelsea1  and  what  is  left  of 
the  Quartier  Latin  may  deny  that  it  is  a 
business.  Nevertheless,  some  few  artists, 
and  even  one  or  two  dealers,  manage  to 
extract  from  it  a  living — though  it  may  be 
only  a  shade  above  the  povertv  line.  And 
the  Cafe  Royal  still  keeps  open,  and  the 
Hambone  Club,  too  ! 

However,  this  is  all  rather  beside  the 
point,  and  appears,  you  are  saying,  to 
have  little  to  do  with  the  subject  of  these 
articles.  But  it  has,  for  this  reason  :  that 
the  assertion  that  film  production  must 
cease  and  will  cease  as  a  business,  when 
put  forward  seriously  in  a  serious  news¬ 
paper  such  as  the  Manchester  Guardian. 


has  a  destructive  effect,  or  at  least  is  de¬ 
structive  in  suggestion. 

Business  and  Criticism. 

As  an  auxiliary  to  the  hypothesis  of  re¬ 
construction  outlined  last  week,  there  must 
be  capital.  Not  merely  capital,  but  sound 
business  methods.  It  is  the  unsound 
business  methods  which  have  been  respon¬ 
sible  for  much  of  the  damage.  There  has 
been  too  much  sound  and  too  little 
method. 

It  is  so-  easy  to  say  that  a  thing  is  all 
wrong.  It  is  very  hard  to  say  how  it 
can  be  put  right.  Easiest  of  all  is  it 
sweepingly  to  condemn  the  motion  picture 
of  the  present  and  the  past  as  ludicrous, 
inept,  futile,  stupid,  artificial,  vulgar  and 
ignorant.  All  of  which  is  very  true,  but 
it  does  not  get  us  anywhere.  Anyone  can 
tell  a  man  that  he  has  got,  say,  malaria, 
but  few^  can  tell  him  how  he  got  it  and 
how  it  can  be  cured.  And  it  is  only  the 
few  who  are  of  any  use  to  him. 

Destruction  in  Criticism. 

Criticism,  that  is  just  abuse,  just  fault¬ 
finding,  does  nothing  but  point  out  the 
faults.  It  does  not  offer  anything  in  their 
place.  There  is  a  school  of  objectors  to- 
the  terms  “destructive”  and  “construc¬ 
tive”  criticism  w'ho  assert  that  the  terms 
are  synonymous.  They  are,  is  it  neces¬ 
sary  to  observe,  themselves  destructive 
critics,  and  they  assert  that  the  obverse  of 
their  destructive  criticisms  is  the  self- 
evident  remedy  for  the  defects. 

Which  is  clotted  nonsense. 

One  might  with  equal  reason  say 
bluntly  and  rudely  to  a  man  “Your  nose 
is  long  and  bulbous,”  and  then  assert  that 
such  a  criticism  of  his  personal  appear¬ 
ance  is  constructive  because  it  means  that 
his  nose  should  be  shorter  and  of  more 
regular  shape. 

Which,  again,  is  nonsense,  equally 
clotted. 


more  business.  The  short-sighted,  cheese¬ 
paring,  narrow  methods,  beloved  of  tin- 
huckster,  will  not  do-  any  longer,  film¬ 
ing  a  sack  full  of  “best  sellers”  without 
regard  to  the  screen  value  of  anything  but 
their  titles,  booking  them  to  equally 
foolish  exhibitors,  and  then  forcing 
penurious  producers  to  spoil  good  nega¬ 
tive  by  making  the  films  at  a  cost  which 
will  show  a  profit  -on  the  bookings  made, 
is  not  a  business  policy.  It  is  the  policy 
of  the  kerbstone  cheapjack  who  has  not 
got  to  come  back  to  sell  some  more  of 
the  same  rubbish  in  the  same  place  to, 
probably,  the  same  people ■  find  it  -.s  only 
the  peripatetic  cheapjack  that  can  work 
this  way. 

The  “Cheap  and  Nasty  ”  Style. 

Another  method  is  to  take  a  current 
sensation — the  lower  it  is  in  taste,  the 
more  sensational  in  a  tawdrv  and  vulgar 
sense  it  is,  the  more  the  people  who  do  it 
appreciate  it — rush  out  a  picture  quickly 
and  cheaply,  and  then  boast  of  running 
a  “  successful  business.”  Really  the  only 
things  which  they  succeed  in  proving  are 
that  there  is  a  profit  in  anything  nasty  if 
onlv  it  is  produced  cheaply  enough,  and 
that  there  is  a  public  for  trash.  No  one 
has  ever  denied  it.  There  is  a  public  for 
pornographic  novels  and  films,  and  a  p  10- 
fit  in  them.  But  I  do  not  know  anyone 
who  suggests  that  their  preparation  and 
sale  is  a  good  business  policy. 

7  he  Progress  of  Art. 

The  fundamental  fact,  overlooked  by  all 
the  people  urho  are  so  certain  that  they  are 
giving  the  public  what  it  wants,  is  that 
the  public  taste  is  progressive,  not  retro¬ 
gressive.  It  strikes  upwards,  and  while  it 
will  for  a  time  accept  things  at  or  be¬ 
neath  its  level,  it  inevitably  demands  some¬ 
thing  which  contains  at  least  the  elements 
of  a  better  standard  of  knowledge,  artistry, 
sincerity  and  taste. 


More  Art — and  Business. 

I  believe  that  what  is  needed  in  this 
country  to  raise  film  production  to  a 
higher  standard  is  not  -onlv  more  art,  but 

o 


|  FRONT  PAGE  j 
|  •  VACANT  j 
|  NEXT  WEEK  j 
|  Price  £6  :  10  :  0  | 

|  (Block'tnaking  extra). 

!  ! 


j  See 

1 _ 


Jimmy  Sloan  about  it. 


If  it  does  not  get  it,  then  it  turns  to 
another  field,  the  novelty  of  which  com¬ 
pensates  for  a  moment  for  the  progress 
lacking  in  what  it  has  left.  That  is  why 
there  are  whnings  and  waxings  of  popu¬ 
lar  vogue  for  certain  things — because  so 
soon  as  the  inability  of  these  things  to  im¬ 
prove  or  progress  (and  that  not  merely  in 
a  mechanical  sense)  has  been  demon¬ 
strated,  the  public  wants  them  no  longer. 
Everything,  to  attract,  must  be  new',  or 
else  must  continually  grow  so  that  it 
seems  ever  to  be  new. 

It  is  for  this  reason  that  I  have  made 
the  suggestion  in  my  previous  article-  that 
a  British  screen  art — different  from  any 
other ;  national  yet  of  wide  human  appeal 
— is  the  only  development  thro’*gh  which 
tfi^e  .(production  of  motion  pictures  can 
hope  to  progress  and  survive. 

Progress  and  survival  are  the  same 
thing. 

For  the  fittest  only  survive,  and  progress 
is.  at  once  the  price  and  the  rew  ard  of  fu- 
ness. 


7 


THE  MOTION  PICTURE  STUDIO 


February  3,  1923 


The  Stately  Holmes  of  Cricklewood 

George  Ridgwell  Elevates  a  Snake  to  Stardom  ^ 


^JIHE  Stoll  studios  are  so  extensive  that 
the  most  intense  emotions  and!  des¬ 
perate  deeds  of  adventure  may  be  taking 
place  in  one  corner  unobstrusively  and 
without  disturbing  the  even  tenor  of  the 
rest  of  the  premises.  In  real  life  it  requires, 
much  care  and  circumspection  to  throttle 
a  relative  or  rob  a  post  office  without  at¬ 
tracting  unwelcome  attention  from  the 
neighbourhood.  Beneath  the  glass  roofs 
of  the  Cricklewood  mammoth  picture-in¬ 
cubator,  however,  grave  crimes  are  com¬ 
mitted  and  detected,  dope-dens  raided,  and 
convict  ships  blown  up  without  dislocating 
for  a  second  the  routine  of  joining  posi¬ 
tive,  filing  photographs  or  writing  canteen 
luncheon  menus.  The  very  sparrows  that 
occasionally  perch  on  the  girders  seem  to 
regard  tense  scenes  of  heartrending  infamy 
and  warm  human  kindness  with  slightly 
blase  equanimity. 

Past  the  methodically  grouped  depart¬ 
mental  rooms  (which  suggest  a  happy 
blend  of  military  hospital  and  the  Passport' 
Office)  I  wandered  from  set  to  set  until 
finally  George  Ridgwell  was  discernible 
directing  a  group  of  people  in  some  scenes 
in  the  Sherlock  Holmes  episode  of  “  The 
Speckled  Band.” 

On  the  First  Floor 

The  first  floor  of  the  house  of  the 
sinister  Dr.  Grimesby  Rylott  was  before 
us — bedrooms,  study  and  landing.  Cyn¬ 
thia  Murtagh  was  in  her  bedroom  saying 
good-night  to-  her  sister  (Jane  Grahame). 
The  sister  paused  and  asked  if  Cynthia 
had  ever  heard  a  mysterious  whistle  about 
the  house.  I  thought  Cynthia’s  hearing 
must  be  defective,  because  she  seemed 
puzzled.  Ridgwell  assured  me,  however, 
that  the  whistle  just  blown  by  his  assistant 
was  a  signal  to  the  carpenters  to  stop 
hammering  during  the  shooting. 

This  satisfied  me,  but  not  Miss 
Grahame,  who  went  out  in  a  state  of 
much  uneasiness.  At  this  point  my  car¬ 
toonist  intimated  quietly  to  me  that  a 
pretty  young  girl  was  about  to  retire  for 
the  night.  We  were  on  the  verge  of  steal- 
unostentatiously — at  least,  I 


mg  away 


was — when  Ridgwell  relieved  our  embar¬ 
rassment  by  cutting  the  scene  and  giving 
us  chairs. 

Drawing  and  Casting 

Presently  I  became  aware  of  Holmes 
and  Watson,  in  the  persons  of  Eille  Nor¬ 
wood  and  Hubert  Willis,  standing  in  a 
strategic  position  not  far  away.  Eille 
Norwood  must  have  known  he  would  be 
wanted  before  long.  Scenes  cannot  be 
polished  off  like  shelling  peas,  and  here 
was  the  greatest  and  most  popular  figure 
in  modern  fiction  ready  to  hand  in  case  of 
need,  with  his  fatuous  but  eminently  re¬ 
spectable  satellite  beside  him.  By  the 
way,  Hubert  Willis  doesn’t  look  in  the 
least  like  the  carefully  described  Watson 
in  the  stories  as  pictured  in  the  original 
Sidney  Paget  drawings.  That  is  not'  his 
fault.  It  was,  I  still  furiously  maintain, 
one  of  the  grossest  pieces  of  miscasting  in 
film  history.  But  how  remarkable  is  the 
influence  of  the  screen  !  A  long  course  of 
Willis  on  the  screen  has  almost  persuaded 
most  of  us— thanks  to  the  actor’s  sound 
work — that'  Paget  and  Conan  Doyle  were 
wrong. 

Together  the  immortal  couple  watched 
a  good-night  scene,  with  lighting  effects, 
on  the  landing.  They  were  joined  by 
Lewis  Gilbert,  a  forbidding  and  repellent 
Dr.  Rylott. 

The  manipulation  of  the  lights  was  a 
complicated  business  of  signals  and  move¬ 
ments  of  hands  on  switches.  Two  bed¬ 
room  doors  were  open  and  the  maid  inter¬ 
rupted  the  sisters’  farewells  by  turning  out 
the  landing  switch,  thus  giving  the  gleams 
from  the  lit  bedrooms,  reduced  to  one  bed¬ 
room  on  the  other  door  being  closed.  Just 
at  the  moment  of  taking  one  of  the  twin 
lights  on  the-  landing  went  ouit,  and  refused 
to  come  on  bv  cajolery,  worrying  at  the 
fitting,  or  even  muttered  blasphemy.  I 
perceived  in  a  flash  that  only  one  thing 
was  to  be  done.  Sherlock  Holmes-  must 
be  consulted  without  a  moment’s  delay  to 
prevent  overhead  charges  mounting  up. 
The  case  was  put  briefly  to  Eille  Norwood, 
who  listened  Sphinx-like,  placed  his  finger¬ 


tips  together,  smiled  a  thin-lipped  smile, 
gazed  at  the  roof  pensively,  and  said  : 

“  Send  for  the  electrician.” 

We  all  stared  at  one  another  aghast. 
What  manner  of  man  was  this?  By  what 
marvellous  process  of  induction  and  de¬ 
duction  was  he  able  to  place  his  finger  on 
the  solution  to  our  difficulties?  Dr.  Wat¬ 
son’s  tongue  clove  to  his  palate  with 
speechless  astonishment  at  his  friend’s  un¬ 
erring  diagnosis.  Holmes  showed  his  -con¬ 
tempt  for  our  dull  wits  by  sighing  deeply. 

A  Current  Deduction 

Vindication  quickly  followed.  The  elec¬ 
trician  put  the  light  in  working  order  in 
eleven  seconds  by  the  landing  barometer. 

Holmes  and  Watson  then  went  through 
a  scene  with  Cynthia,  who  showed  them 
the  various  rooms  on  the  landing.  I 
thought  at  first  they  were  the  prospective 
tenants  of  a  self-contained  flat,  and  that 
Cvnthia’s  sub-title  would  go  something 
like  this  : 

“  Three  bed  and  two  reception,  bath  h. 
and  c.  ;  and  only  a  stone’s-throw  from  the 
station.  We’ve  got  some  stones  in  the 
window-box  if  you’d  like  to  try  your  aim 
at  the  booking  office.” 

Ridgwell  said,  however,  that  she  was 
helping  them  to  investigate  her  step¬ 
father’s  attempts  to  murder  her  ;  but  the 
housing  problem  naturally  excused  my 
misinterpretation  of  their  grim  seriousness- 

Great  Snakes  ! 

All  this  time  Lewis  Gilbert  was  getting 
more  -and  more  testy  and  resentful.  Who 
wouldn’t,  under  the  circumstances?  A 
wicked  householder,  with  cupboards  full 
of  skeletons,  engaged  in  planning  a  grue¬ 
some  murder  by  means  of  his  pet  snake, 
would  naturally  chafe  under  the  necessity 
of  watching  strange  electricians  tampering 
with  his  fittings,  methodical  young  men 
adjusting  his  furniture,  -and  two  private 
investigators  prying  round  his  premises  in 
full  glare  of  Cooper-Hewitts.  This  sort 
of  thing  is  almost  enough  to  drive  any 
self-respecting  murderer  out  of  the  busi¬ 
ness.  However,  before  I  could  obtain 
from  him  the  address  of  the  agency  from 
whence  he  obtained  his  housemaid  (Celia 


February  3,  1923 


THE  MOTION  PICTURE  STUDIO 


Stories  Filmed  and  Yet 

Not  Filmed 

What  Makes  Adaptation  Difficult  ? 


Bird),  he  was  on  the  set  at  work  with  the 
snake. 

The  snake,  Ridgwell  warned  us,  was 
haughty,  uppish  and  more  temperamental 
.than  the  average  screen  beginner  has  any 
right  to  be.  The  fact  that  he  had  spent 
an  hour  the  previous  day  in  getting  it  to 
pose  properly  indicated  the  risks  that 
attend  putting  these  screen  amateurs  in 
title-roles.  Al  Moise,  beside  his  camera, 
pointed  out  several  white  hairs  on  his 
head  that'  had  come  on  the  night  after 
fruitless  attempts  to  coax  the  reptilian 
star. 

The  snake’s  dressing-room  seemed  the 
last  word  in  comfort.  Fresh  straw  and 
perfect  ventilation  appeared  to  have  made 
it  drowsy.  My  cartoonist  muttered  some¬ 
thing  about  never  touching  another  drop 
as  Ridgwell  coolly  took  the  scaly  coil  in 
his  hands.  But  then,  having  ridden  in  his 
car,  I  know  that  Ridgwell ’s  life  is  a 
charmed  one.  He  bent  the  snake'  round 
Gilbert’s  forehead,  and  then  the  wretched 
thing  woke  up  and  began  its  fang  exer¬ 
ciser — a  procedure  for  which  I  was  alwavs 
reproved  when  a  small  boy  in  a  holland 
blouse. 

Would  it  pose?  Would  it  rear  its  neck 
and  gracefully  turn  its  head?  Eille  Nor¬ 
wood  had  already  prepared  to  send  for  his 
violin,  and  Ridgwell  and  Moise  started 
making  the  blandishing  noises  of  a  photo¬ 
grapher  of  children  or  a  burglar  to  a  bull¬ 
dog. 

All  was  well !  We  had  forgotten  a  most 
important  factor  in  film-work — publicity. 
1  he  presence  of  the  Press  was  magical. 
The  reptile,  a  descendant  from  original 
Eden  in  subtility,  had  divined  my  attend¬ 
ance,  and  a  perfect  shot  was  "obtained 
without  any  rehearsal!  I  felt  that  my 
visit  had  even  in  a  slight  degree  furthered 
British  production. 

Before  we  left  we  saw  a  large  Mid- 
Victorian  convict  frigate  blown  to  atoms 
on  the  high  seas.  Everything  was  done 
by  numbers,  and  the  ocean  was  strewn 
with  wreckage.  How  was  it  done?  Ah! 
I  saw  nothing  about  it  in  any  of  the 
evening  papers,  but  it  is  in  the'  “  Gloria 
Scott  ”  episode.  It  is  the  first'  time  I  have 
attended  a  shipwreck,  but  many  of  those 
present  who  have  been  on  the  rocks  said 
it  was  life-like;  and  it  certainly  looked — 
and  smelt — good  to  me. 


JVfOW  and  again  the  searcher  for  film- 
play  material  lights  on  a  likely  book 
or  story  only  to  find  through  the  literary 
agent  that  the  film-rights  have  been  sold. 

To  many  people  this  conveys  the  im¬ 
pression  that  the  story  will  be  filmed. 
This  does  not  follow.  There  are  many 
instances  of  rights  being  purchased  and 
held  for  a  profit,  or  simply  held  indefi¬ 
nitely  because  some  hitch  has  prevented 
production — usually  a  financial  hitch.  I 
know  of  at  least  one  example  of  a  story 
being  secured  simply  to>  prevent  someone 
else  from  acquiring  it. 

It  is  not  so1  much  these  accidental  or 
deliberate  holdings  of  rights  which,  con¬ 
cern  me.  I  am  much  more  disposed  to 
deal  with  the  purchased  novel  which  is 
made  into  a  scenario,  cast,  shot,  joined 
and  shown,  and  it  is;  of  these  of  which 
it  may  too  often  be  said,  “  This  story  has 
not  been  filmed.” 

Henry  Arthur  Jones  told  me  once  that 
he  was  amazed,  after  seeing  a  film,  to 
learn  that  it  was  a  screen  version  of  one 
of  his  plays-  Many  other  authors  fail  to 
recognise  their  original  stories  on  witness¬ 
ing  the  alleged  screen  version. 

Mutilation  amounting  at  times  almost 
to'  sacrilege  is  by  no  means;  uncommon, 
as  we  are  all  aware.  An  American  ver¬ 
sion  of  Anstey’s  delightfully  delicate 
“The  Man  from  Blankley’s  ”  recently  in¬ 
terpolated1  in  it  crooks  and  a  prize-fight ; 
and  the  ruthless  distortion  of  “  The  Ad¬ 
mirable  Crichton  ”  and  other  lovable 
classics  is  nothing  short  of  outrage. 

They  are  not  confined  to  America, 
either.  We  consider  that  stories  have 
been  spoiled  in  this  way  too  often  in  Eng¬ 
land,  and  in  support  of  our  theory  we 
instance:  “The  First  Men  in  the  Moon,” 
“In  the  /Night,”  “She,”  “The  Flag 
Lieutenant,”  and  “The  Barton  Mystery.” 

Is  there  something  to  be  said  for  the 
other  side? 

There  is.  While  the  destruction  of  a 


great  and  popular  storv  is  indefensible, 
there  are  many  instances  where  alteration 
is  necessary  to  make  a  film-subject  of  the 
original.  There  are  also1  too  many  cases 
where  a  contemptible  novel  is  improved 
by  complete  rewriting.  To  us  it  seems  a 
sound  rule  that  the  spirit  of  the  author 
of  a  good  novel  must  always  be  preserved, 
and  that  the  test  of  a  suitable  book  is  its 
adaptability  in  harmony  with  the  original. 
Where  this  cannot  be  done,  the  original 
story,  be  it  novel  or  play,  is  proved  to 
be  an  unsuitable  film  subject. 

The  scenarist,  who  has  to  make 
a  good  script  from  a  great  but  unsuitable 
book,  is  to  be  pitied.  He  is  faced  with 
two  equally  unpleasant  alternatives;  to 
reproduce  the  book  faithfully  and  get  a 
poor  film ;  or  to  make  a  good  script  at 
the  expense  of  the  original.  In  either 
case  he  is  “  for  it,”  to  use  a  graphic  idiom. 
There  is  no  prospect  at  the  moment  of 
the  choice  of  subjects  being  placed  in  the 
hands  of  those  better  fitted  to  discrimin¬ 
ate,  and  therefore  this  sort  of  thing  is 
likely  to  continue  awhile. 

When  the  script- writer,  however,  is 
given  a  shoddy  book  to  adapt,  he  will 
have  much  less  compunction  in  rewriting 
the  story  entirely  for  his  own  purpose  of 
making  a  good  film  proposition.  Many 
and  different  novels  have  thus  been 
boomed  by  authors  who  have,  in  addition, 
made  more  out  of  the  film  rights  than  out 
of  the  publication  royalties'.  To  the 
scenarist  is  the  credit  due  in  all 
such  cases ;  but  does  he  get  correspond¬ 
ingly  recompensed?  Hardly  ever. 

One  of  the  most  amazing  things  for  a 
story  searcher  is  to>  find  a  story  sold  and 
afterwards  destroyed  in  essence  by  appal¬ 
ling  treatment  by  script- writer  and  direc¬ 
tor.  Such  stories  are  not,  strictly 
speaking,  filmed  ;  but  the  rights  of  them 
cannot  be  negotiated  until  the  lease  of 
them  expires  some  years  later. — I1.  M. 


CYfJTHlA 

ttWRTAGJt 


Q 


THE  MOTION  PICTURE  STUDIO 


February  3,  1923 


Screen  Values 

Measuring  Up  the  W  eek’s  Product 


A  ROYAL  DIVORCE." 

Napoleon  Films,  Ltd. — Directed  under  per¬ 
sonal  supervision  of  G.  B.  Samuelson 
by  A.  Butler — Scenario  by  W  alter  G. 
Summers — Photographed  by  Sydney 
Blythe — Leading  Players  :  Gwilym 
Evans,  Gertrude  McCoy,  Mary  DiBley, 
Jerrold  Robertshaw,  Gerald  Ames, 
Lilian  Hall-Davies. 

“  .\  Royal  Divorce  ”  is  easily  the  finest 
of  G.  B.  Samuelson’s  achievements,  and 
may  justly  be  regarded  as  one  of  the 
greatest  pictures  ever  made  in  this  country. 
It  is  by  no  means  perfect;  but  its  con¬ 
ception,  execution  and  coherence  make  it 
a  picture  of  which  the  British  Industry 
may  well  be  proud. 

The  use  of  dramatic  licence' — that 
weather-beaten  excuse  for  every  conceiv¬ 
able  distortion  of  history — is  a  practice 
unfortunately  more  frequently  abused 
than  otherwise.  This  picture  is  often  far 
from  being  an  accurate  representation  of 
the  various  episodes  with  which  it  deals; 
but  the  liberties  taken  are  never  out¬ 
rageous,  and  the  spirit  in  which  the 
famous  figures  are  portrayed  is  at  once 
sympathetic  and  impartial.  Most  im¬ 
portant  of  all,  there  is  a  real  interest  in 
its  sequence.  Walter  Summers  has  pre¬ 
served  an  admirable  continuity.  Here 
and  there  scenes  are  drawn  out  and  ex¬ 
traneous  matter  interpolated  at  the  ex¬ 
pense  of  the  dramatic  balance,  and  one 
or  two  bridging  devices  strike  one  as  a 
trifle  abrupt;  but,  in  the  main,  attention 
is  exceedingly  well  maintained  to  a  series 
of  sound  climaxes. 

W  e  regard  the  consistent  retention  of 
real  interest  in  the  characters  of  the  story 
and  the  development  of  the  events  as  at 
least  as  important  as  the  authenticity  of 
the  multitudinous  details  of  settings,  cos¬ 
tumes  and  manners.  Possible  other  his¬ 
torical  film  romances  have  been  made  in 
which  the  meticulous  accuracy  to  the 
period  of  every  mantelpiece  ornament, 
every  button,  and  every  architectural  de¬ 
tail  are  irreproachable.  Unless  the  human 
appeal  of  real  interest  in  the  characters 
and  the  story  is  at  least  as  evident,  the 
result  will  be  largely  a  waste  of  trouble 
and  research.  The  reason  for  this  is  not 
far  to  seek.  Comparatively  few  people 
are  archaeological  experts,  but  everybody 
with  a  heart  and  brain  can  appreciate  a 
connected  story  with  personalities  who  are 
to  some  degree  convincing. 

We  are  not  defending  historical  inaccur¬ 
acies  ;  on  the  contrary,  we  only  suggest 
that  the  maintenance  of  interest  in  a 
picture  is  the  chief  criterion  of  its  enter¬ 
tainment  value,  and  that  “  A  Royal 
Divorce  ”  scores  heavily  on  that  account 
rather  than  upon  a  minute  fidelity  to  his¬ 
torical  detail. 

The  direction  has  been  uniformly  good, 
and  many  of  the  effects  are  wonderfully 
impressive,  especially  the  groupings  of 
crowds  of  people.  The  best  of  these  is 
probably  thy  exterior  scene  of  Napoleon’s 
departure  from  Versailles  on  his  abdica¬ 
tion.  but  the  “  Hundred  Davs  ”  scenes  of 
the  Emperor’s  return  from  Elba  are  also 
most  dramatically  staged.  The  Waterloo 


Ball  and  the  battle  itself  are  excellent,  but 
the  conclusion  of  the  battle  seemed  rather 
cut  short,  and  the  final  vision  of  the  ex- 
Emperor  a  little  sudden.  The  Moscow 
scenes  are  well  done,  but  the  retreat  in 
the  snow  would  have  been  better  with'-"-'- 
a  mountain  background,  which  rather  sug¬ 
gested  Switzerland. 

The  artificial  tinting  seen  once  or  twice 
— the  roses  on  the  balcony  and  the  stand¬ 
ards  of  the  army,  for  instance — seemed 
to  us  unnecessary  and  irritating.  It  con¬ 
veyed  nothing,  and  almost  spoiled  the 
scenes  in  which  it  was  used. 

So'  much  excellent  material  is  in  this 
picture  that  we  would  very  strongly  re¬ 
commend  the  elimination  of  some  unneces¬ 
sary  footage,  which  is  calculated  to  make 
for  boredom.  The  final  parting  of  Napo¬ 
leon  and  Josephine  will  stand  considerable 
reduction,  and,  above  all,  the  old  Belgian 
village  “business  ”  of  Tom  Reynolds  and 
the  “dressing-uip  ”  of  Lilian  Hall-Davies 
should  come  bodily  out — the  larger  part 
of  a  reel,  we  should  estimate.  The  humour 
is  so  weak  that’  it  is  not  in  any  sense 
a  relief;  and  everybody’s  interest  in  the 
crisis  of  Napoleon’s  career  has  been  so 
well  worked  up  into  compound  interest,  so 
to  speak,  that  the  sudden  intrusion  of 
what  is  intended  to  be  light  comedy  runs 
the  very  big  risk,  amounting  almost  to 
a  certainty,  of  being  impatiently  resented. 

The  acting  throughout  was  sound  and 
sincere.  Gwilym  Evans  gradually  seemed 
to  become  more  and  more  Napoleonic.  A 
touch  or  two  of  the  “  little  corporal’s  ” 
sardonic  humour  would  have  given 
balance,  but  perhaps  we  are  hypercritical. 

•  he  best  performance  of  all  was  given  bv 
Jerrold  Robertshaw,  who  bv  his  acting 
succeeded  in  overcoming  all  physical  dis¬ 
similarity  to  the  real  Talleyrand'  Neither 
are  we  prepared  to  accept  Gertrude  McCoy 
as  a  replica  of  Josephine  in  appearance, 
but  her  work  was  extremely  good,  studied 
and  sympathetic,  with  some  fine  moments 
of  real  poignancy.  Mary  Diblev  was  a 
capital  contrast  in  cold  disdainful  hard¬ 
ness,  and  her  Marie-Louise  helped 
materially  in  gaining  sympathy  for  Jose¬ 
phine.  Gerald  Ames  was  vigorous  in  a 
part  which,  however  secondary,  suited  him 
for  once  in  a  wav,  and  Lilian  Hall-Davies 
was  pleasantly  lively  and  charming.  The 
small  parts  were  uniformly  good,  and  the 
crowds  and  armies  well  manipulated. 

Svdnev  Blvthe’s  camera-work  was  on  a 
hinh  level  of  oualitv. 

The  tiffing  is  often  magnificent  as  re¬ 
gards  phraseology,  with  one  or  two  ex¬ 
ceptions  in  the  rather  archaic  sooken  ones. 

SUMMARY. 

Direction  :  Vert-  good.  Spectacular 
scenes  most  effective. 

Story  :  Carefully  preserved,  and  con¬ 
quering  the  extent  of  it  beyond  the  play’s 
well  brought  out. 

-Scenario  and  Continuity  :  Well  written 
and  dramatic. 

Acting  :  Excellent. 

Exteriors  :  Varied,  but  mostly  excel¬ 
lent. 

Interiors  :  Good  on  the  whole. 

Photography  :  Good. 


1  PADDY-LHE-NEXT- 
BEST  THING." 

Graham-Wilcox. — Story  by  Gertrude 
Page. — Directed  by  Graham  Cutts. — 
Photographed  by  Rene  Guissart. — Prin¬ 
cipal  Players  :  Mae  Marsh,  Darby  Poster, 
Lillian  Douglas,  George  K.  Arthur,  Sir 
Simeon  Stuart,  Marie  Ault,  Tom 
Coventry,  Mildred  Evelyn,  Nina  Bouci- 
cault,  Haidee  Wright,  Marie  Wright,  Ber¬ 
nard  Vaughan. 

Graham  Cutts  has  given  us  in  this  pic¬ 
ture  ample  evidence  of  his  versatility,  . 
when  one  remembers  “  Flames  of  Pas¬ 
sion  ’’  and  “  The  Wonderful  Story.”  Few 
directors  are  equally  competent  in  the 
portrayal  of  bucolic  elemental  emotion, 
highly  seasoned  melodrama  and  rollicking 
sentimental  comedy.  “  Paddy-the-Next- 
Best-Thing  ”  is  his  best  picture  so  far, 
and  totally  unlike  his  previous  efforts. 

It  is  a  delightfully  human  entertain¬ 
ment,  and  technically  so  well-knit  in  spite 
of  its  length  that  it  is  a  matter  of  difficulty 
to  apportion  justly  the  credit  between  the 
director  and  his  admirable  cast. 

The  essential  note  of  the  story  is  one 
of  breeziness,  and  this  is  most  adroitly 
preserved  from  the  freshness  of  the  open¬ 
ing  yacht  race  scenes  to  the  final  inevit¬ 
able  reunion  of  Paddy  and  Blake.  A  kind 
of  spiritual  lightheartedness  seems  to 
spread  from  the  central  character  over  the 
whole  story.  One  feels  that  the  emotions 
and  crises  in  the  characters’  lives  are 
reallv  happening,  and  that  the  mercurial 
girl  is  in  real  physical  peril  near  the  end  ; 
but  even  at  these  tensest  moments  there 
is  an  undercurrent'  of  buoyant  faith  that 
saves  the  strongest  scenes  from  appearing 
over-coloured. 

The  groupings  and  movements  are  well 
arranged  and  directed.  Much  of  the 
essence  of  the  characters  is  “got  over” 
by  the  spoken  titles,  and  the  smoothness 
with  which  these  are  matched  with  the 
shots  shows  an  amount  of  care  which  is 
a  leading  factor  in  the  technical  finish  of 
a  picture.  Few  people  outside  a  studio — 
and,  we  will  add,  not  all  those  inside  one 
— realise  the  importance  of  harmonising 
in  directing  and  by  cutting  the  effect  of 
the  words  seen  spoken  and  immediately 
projected  as  a  sub-title.  Cutts,  in  his  com¬ 
paratively  short  studio  career,  seems  to 
have  mastered  it  as  much  as  any  other 
native  director. 

The  settings,  particularly  the  numerous 
beautiful  exteriors,  have  been  most  intel¬ 
ligently  selected — and  used.  The  lighting 
is  splendid. 

A  trulv  weird  and  wonderful  sequence 
of  scenes  of  the  torchlight  search  for 
Paddy  in  the  swirling  mist  is  a  triumph 
1  of  production.  We  cannot  remember  any¬ 
thing  of  its  kind  half  so  good. 

M  ae  M  arsh,  much  more  in  her  element 
than  in  her  previous  picture,  gives  a 
rattlinglv  boisterous  performance  as 
Paddv — an  odd  blend  of  boyishness  and 
sensitive  femininity.  Upon  her  shoulders 
rests  much  of  the  picture’s  credit.  Darby 
Foster  is  not  nearly  so  effective — he  shows 
[Continued  at  foot  of  next  pa^e.) 


in 


February  3,  1923 


THE  MOTION  PICTURE  STUDIO 


Applause — Its  Use 
and  Abuse 


THE  “MALAYA’S” 
CRUISE 

Jack  Ross’  Privations  and  Adven¬ 
tures  in  mid-ocean  in  a  90-ton  yacht 

T  AC K  ROSS  called  in  to  see  us  this 
week,  full  of  his  recent  perilous  ex¬ 
periences  in  the  Lockhart  Cottle  expedi¬ 
tion. 

Ross  left  London  on  June  14  last.  The 
Malaya  is  a  tiny  90-ton  schooner  yacht 
with  an  auxiliary  motor  which  was  prac¬ 
tically  useless,  "it  took  47  days  to  get  to 
Faimouth  !  A  stiff  gale  in  the  Bay  of  Bis¬ 
cay  was  the  cause  of  their  putting  into 
Vigo  for  repairs.  A  further  fortnight  for 
repairs  at  Las  Palmas  was  the  prelude 
to  a  perilous  journey  across  the  Atlantic. 
They  were  three  weeks  in  the  doldrums, 
and  collided  with  a  whale.  In  mid-ocean 
their  water  and  food  supplies  began  to 
give  out,  and  in  42  days  they  arrived  at 
Dutch  Guiana,  having  lived  for  a  fortnight 
on  bulk'  beef  and  rice.  At  the  port  of 
Paramaribo  expeditions  inland  were  made. 
Ross  and  the  first  officer  found  plenty  of 
sport  up  the  Surinam  river  in  the  shape  of 
tiger-cats,  peccaries,  parrots  and  many 
weird  birds.  Setting  north  for  Trinidad, 
they  got  in  sight  of  the  island  in  six  days, 
but  were  helplessly  delayed  by  currents 
for  a  further  ten  days,  arriving  there  on 
Christmas  Eve  last. 

The  Malaya's  voyage  was  suspended  at 
Port  of  Spain,  Trinidad,  and  Ross  came 


On  Board  the  “  Malaya.” 

home  by  steamer.  The  original  pro¬ 
gram  having  failed  to  materialise,  his 
results  in  the  shape  of  film  records  are  not 
noteworthy.  His  Newman  Sinclair  all- 
metal  camera  stood  every  test  and  strain 
of  tropical  use  wonderfully;  never  once 
did  he  experience  “static.’’ 

Ross  (who,  of  course,  was  cameraman 
on  the  famous  Martin  Johnson  South  Seas 
cannibal  pictures)  is  looking  bronzed  and 
wiry,  but  is  not  disposed  for  a  repetition 
of  the  risks  and  hazards  attending  the 
expedition  of  the  Malaya. 


Films  Queered 

NOTHING  is  more  natural  and  more 
heartening  than  an  audience’s 
homage  audibly  expressed — at  the  proper 
time  and  in  the  proper  place.  Conversely, 
nothing  is  more  injudicious  and  generally 
damaging  to  all  concerned  than  applause’ 
which  is  superfluous,  irrelevant,  and 
therefore  illegitimate. 

In  spite  of  a  certain  dictum  which  once 
emanated  from  George  Bernard  Shaw, 
we  are  of  the  opinion  that  in  the  theatre, 
the  concert  hall  and  even  at  the  public 
or  political  meeting,  the  sound  of  an  audi¬ 
ence’s  concerted  appreciation  has  a  real 
value.  It  is  unmistakable  as  the  sign 
of  the  approval  of  the  assembly,  who  are 
presumably  thus  desirous  of  communicat¬ 
ing  their  feelings  to  those  who  have 
elicited  them. 

Many  actors  and  actresses — one  may, 

I  fancy,  safely  say  most — are  encouraged 
and  even  inspired  by  applause  to  greater 
efforts,  and  are  accustomed  to  temper 
their  interpretations  in  proportion  to  its 
frequency  and  degree.  The  disposition  of 
the  audience  being  indicated  by  this 
among  other  means,  the  experienced  actor 
will  play  upon  it  and  hold  them,  very 
often,  spellbound.  It  is  a  psychological 
study  to  note  the  variations  in  the  actor’s 
breadth  of  method  which  correspond  to 
the  intelligence  (or  otherwise)  indicated 
by  applause  and  laughter. 

The  applause  which  sometimes  greets  a 
film  has  not  this  last. excuse.  The  per¬ 
formance  cannot  be  affected  by  its  absence 
in  the  least,  and  it  stands  or  falls  as  a 
means  of  expressing  public  appreciation. 

Now  the  appreciation  in  public  of  a 
performance  is  not  made  except  at  its 
close  or  some  such  convenient  time,  un¬ 
less  the  applauders  are  entirely  indifferent 
to  spoiling  the  artistry  and  flow  of  a  play. 
The  welcoming  clapping  which  heralds 
the  entrance  of  the  well-known  actor  on 
the  stage  for  the  first  time  we  hold  to 
be  indefensible,  especially  when  (as 
usually  happens)  the  play’s  action  is  held 
up,  however  slightly,  by  its  duration.  How 
much  more  is  the  clapping  of  a  name  on 
the  sub-title  of  a  film  at  a  Trade  show  ! 


by  the  Claque 

The  performance  that  follows  may  be 
unworthy  of  a  single  “  hand  ’’ — and  too 
often  is.  The  name  may  not  be  a  very 
well-known  one  at  all.  Yet  the  pre-judg- 
ing  by  misguided  friends  of  a  film  player’s 
work  in  this  way  is  a  common  feature, 
we  regret  to  sav.  in  British  Trade  shows. 

Why  is  it  hardly  ever  heard  at  Trade 
shows  of  American  pictures?  The  reason, 
of  course,  is  because  the  British  show  is 
crowded  with  personal  friends  of  the 
actors,  including  the  actors  themselves. 
Nothing  is  more  appalling  mentally  as  to 
be  in  the  midst  of  a  Mutual  Admiration 
Society  such  as  many  British  Trade  and 
Press  shows  have  been  in  the  past. 

The  average  visitor  of  the  categories 
for  whom  the  Trade  show  is  intended — - 
the  renter,  exhibitor  and  Pressman — feels 
a  distinct  irritation  at  this  abuse.  He 
comes  into  a  theatre  in  the  morning  with 
an  open  mind  to  see  a  British  picture.  As 
each  actor’s  name — even  the  smallest  of 
small  part  players — is  flashed  on  to  the 
screen,  there  is  a  little  crescendo  of  ap¬ 
plause  from  his  friends  before  even  the 
actor  is  seen  on  the  screen  at  all.  After 
a  dozen  unknown  names  have  been 
heralded  in  this  way,  the  effect  is  apt  to 
become  more  and  more  nauseating.  Many 
of  the  actors  would  gladly  be  saved  from 
their  friends,  feeling  that  their  efforts  are 
being  already-  discounted  in  advance  by 
well-meaning  but  indiscriminating  ac¬ 
quaintances. 

The  only  excuse  we  can  find  for  these 
ill-timed  plaudits  is  one  not  likely  to  be 
urged  by  its  advocates.  It  may  be  con¬ 
ceded,  however,  that  applause  at  the  be¬ 
ginning  of  an  actor’s  appearance  may  be 
more  justified  than  at  any  subsequent 
moment  of  such  performance. 

By  refraining  as  far  as  possible  from 
such  preliminary  and  dislocating  clapping, 
visitors  to  Trade  shows  would  remove 
much  prejudice  among  renting  houses 
against  giving  Trade  ishow  tickets  to 
actors  and  their  friends.  As  long  as  it 
lasts,  however,  it  will  be  a  sure  and  cer¬ 
tain  means  of  prejudicing  the  exhibitor 
and  the  Press,  both  lay  and  Trade,  again>L 
the  picture. 


SCREEN  VALUES  ( continued ) 


comparatively  little  depth  of  feeling  or 
subtlety' — but  there  is  nothing  radically 
wrong  with  his  work  except  that  it  lacks 
character.  Sir  Simeon  Stuart  puts  in 
some  charmingly  natural  work,  as  Paddy’s 
father — as  good  as  could  be  done  by  any¬ 
body-.  George  K.  Arthur,  in  a  quite  un¬ 
affected  and  unstudied  way,  gives  a  per¬ 
formance  which,  for  this  very  reason  of 
its  freedom  from  affection,  is  the  best  he 
has  yet  done  by  a  long  yvay.  Arthur’s  oyvn 
personality-  is  obviously  one  to  be  exploited 
to  get  the  best  out  of  him.  Lillian 
Douglas  was  always  attractive  and  acted 
yvell  and  intelligently,  but  somehow  did 
not  seem  to  be  Paddy’s  sister.  Haidee 
and  Marie  Wright  played  two  maiden 
aunts,  yy-hich  is  another  way  of  saying 


that  thev  were  portrayed  to  perfection. 
Mildred  Evelyn  had  little  to  do  as  Doreen 
Blake,  but  did  that  little  excellently  yvell 
Bernard  Vaughan’s  Dr.  Adair  yy  as  sounc 
without  being  striking.  Nina  Boucicault 
and  Marie  Ault  stood  out  in  comparatively 
small  parts— especially  the  latter  ;  and  Tom 
Coy-entry  looked  more  Irish  than  any 
Irishman  I  have  ever  seen. 

SUMMARY. 

Direction:  First-rate. 

Story. — Good — and  suitable. 

Scenario  and  Continuity  :  Sound. 

Acting  :  Excellent  all  round. 

Exteriors  :  Very  fine. 

Interiors  :  Excellent. 

Photography  :  Very  good  many  cleyer 

effects. 


February  3,  1923  * 


THE  MOTION  PICTURE  STUDIO 


Dewhurst  Makes  Some  Comparisons 


How 

QEORGE  DEWHURST,  at  an  in¬ 
formal  discussion  at  the  Stoll  Pic¬ 
ture  Theatre  Club,  Kingsway,  on  Tues¬ 
day,  said  that  he  had  gone  over  to  Ger¬ 
many  to  produce,  not  because  of  a  lack  of 
patriotism,  but  because  it  was  possible  to 
produce  there  in  the  winter-time  when 
tog  made  the  English  studios  impossible. 

His  leading  artistes  were  Stewart  Rome 
and  Madge  Stuart,  and  although  the  his¬ 
trionic  ability  of  the  latter  made  the  Ger¬ 
mans  anxious  to  secure  her  for  a  six 
months’  contract,  they  regretfully  had  to 
forgo  that  because  her  weight  did  not 
come  up  to  Teutonic  standards.  She  was 
too  thin  ! 

The  English  studios  could  not  compare 
with  the  well-equipped  German  ones, 
where  hairdressers,  manicurists,  chiropo¬ 
dists,  and  every  other  accessory  was  part 
of  the  studio  equipment.  “  It  is  an  un¬ 
known  thing  over  there,”  said  the  lec¬ 
turer,  “  for  an  artiste  to  make  himself 
up.  Moreover,  an  artiste  is  always  prompt 
on  the  set',  made-up  and  dressed.” 

Overtime  as  we  know  it  here  in  Eng¬ 
land  does  not  exist.  If  the  artistes  are  not 
off  the  set!  bv  4.30  to  enable  them  to  get 
a  job  next  day,  then  up  to  five  o’clock 
double  time  is  paid  for,  six  o’clock  treble 
time,  and  so  on.  “  It  cost  me,”  said 
Dewhurst,  “eight  times  their  usual  salary 
one  day  because  of  my  ignorance  of  this 
rule  !  ” 

The  Germans  spare  no  trouble  or  money 
in  their  studio  sets.  The  speaker  gave  an 
interesting  example  of  their  methods 
which  had  commanded  his  admiration. 
Two  figures  were  disappearing  down  a 
ravine  (studio  set)  to  reappear  on  a  ravine 
opposite.  When  they  appeared  he  found 
they  were  in  perspective  and  quite  correct. 


the  Teuton  Tackles  1 

The  explanation  is  that  pigmies,  dressed 
as  the  two  leads,  were  employed  to  give 
this  right  distance. 

As  an  illustration  of  the  artistic  methods 
of  the  Germans,  Dewhurst  instanced  a 
Japanese  set  which  was  being  constructed 
in  the  studio.  The  background  was 
painted  in,  but  the  sea  was  real.  A  bath 
20  feet  long  and  twelve  feet  deep  was  built 
to  represent  the  sea,  in  which  buckets  of 
something  approaching  “  Reckitt’s  ”  was 
thrown.  This  real  sea  lapped  the  shores 
of  the  elaborate  set  in  the  background 
and  gave  atmosphere  and  reality  to  the 
scene. 

The  seriousness  with  which  the  Ger¬ 
mans  take  their  films  could  well  be  copied 
over  here.  Attention  to  historical  detail 
and  perfect  organisation  had  built  up  a 
well-oiled  machine.  There  is  no  delay  as 
happens  in  England  while  fresh  sets  are 
being  constructed,  but  you  just  pass  from 
one  set  to  another.  You  only  pay  for  the 
days  on  which  you  are  actually  working 
in  the  studio,  not  for  the  time  spent  in 
putting  up  sets,  etc.  And  the  actual  con¬ 
struction  is  cheaper  there  than  here.  “  I 
am  thinking  of  doing  ‘  Lancashire  Castle  ’ 
constructed  in  Germany  for  half  the  price, 
but  the  economy  would  be  wiped  out  bv 
having  to  maintain  an  expensive  cast  of 
artistes  while  I  was  producing.” 

Comparative  prices  showed  that  produc¬ 
ing  in  Germany  was  achieved  more  cheaply 
than  in  England.  One  set  composed  of 
four  flats  cost  15s.  to  decorate,  while  in 
England  35s.  6d.  alone  was  spent  on  the 
bare  decoration  of  “  Mrs.  May’s  ”  room. 
This  economy  was  wiped  out  by  the  great 
expense  of  maintaining  a  large  English 
cast  in  a  foreign  country.  Nevertheless, 
one-fourth  of  the  Jofa  studio  is  equal  in 


lings 

dimension  and  equipment  to  any  entire 
British  studio.  But  in  the  long  run  pro¬ 
duction  is  not  cheaper  than  in  England. 

German  films  showed  a  bias  towards  the 
crude  story,  the  sad  ending  and  the  “  ex¬ 
citement  through  murder  ”  element  which 
indicated  that  they  had  suffered  through 
being  cut  off  from  the  world’s  market  for 
so  many  years.  The  rather  repellent  Ger¬ 
man  mentality  which  comes  out  in  most 
of  their  productions  is  not  consciously  in¬ 
tended.  There  is  no-  sign  of  it  in  the 
studios. 

Their  art  directors  are  more  carefully 
chosen  than  over  here.  They  are  either 
architects  or  students  of  history.  For 
example,  a  film  is  being  made  in  which 
the  entire  district  of  Montmartre  is 
wanted.  This  was  built  up  in  the  studio, 
accurate  in  every  detail,  whereas  an  Eng¬ 
lish  producer  might  probably  have  gone  to 
a  back  street  in  Exeter  and  trusted  to 
Providence  and  the  ignorance  of  the  audi¬ 
ence  that  it  would  never  be  detected  ! 

Exteriors,  too,  are  much  cheaper.  It 
was  possible  to  photograph  the  entire  Pots¬ 
dam  Palace,  buildings  and  gardens,  for  the 
sum.  total  of  one  sovereign  ! 

Better  organisation,  greater  attention  to 
detail,  larger  sets  with  a  consequently 
truer  atmosphere,  all  these  are  assets 
which  could  obtain  in  English  studios  if 
thought  was  given.  It  is  only  a  question 
of  time. 

[The  material  on  which  Dewhurst 
touched  appears  to  be  so  valuable,  both 
from  a  film  production  viewpoint  and  also 
from  an  international  standpoint,  that  he 
has  been  requested  to  lecture  on  the  sub¬ 
ject  on  February  20  at  the  Stoll  Picture 
Theatre  Club.  Invitations,  by  ticket  only, 
to  this  meeting  will  be  sent  in  due  course.] 


When  is  a  Film  Critic? 


FJMIIS  is  not  an  abstruse  essay  boiled 
down.  We  are  simply  anxious  to 
know  whether  the  men  or  women  who 
write  notices  of  new  specially-presented 
films,  in  certain  daily  and  weekly  contem¬ 
poraries,  call  themselves  (in  the  Census 
papers,  say)  film  critics. 

The  following  is  hardly  an  exaggeration 
of  whaf  passes  for  a  review  of  a  new  pic¬ 
ture  in  certain  publications  : 

“COUNTESS  IN  NEW  FILM. 

“  Lady  Virginia  Gasper  in  her  new 
picture  at  the  Palaseum  last  night. 

“  Enthusiastic  scenes  marked  the  close 
of  the  great  new  picture  featuring  Lady 
Virginia  Gasper  last  evening.  The  bril¬ 
liant  star,  who  is  descended  from  the 
Young  Pretender,  received  twentv  bou¬ 
quets  after  having  been  seen  on  celluloid 
for  four  hours  in  her  historical  master¬ 
piece,  ‘The  New  Pretender’;  also  fresh 
fruit  and  vegetables. 

“  Among  the  brilliant  company  in  the 
boxes  and  stalls  were  Lady  Carrie  Cloves, 
Lady  Polly.  Andrv,  Viscount  Chickens, 
General  K.  Osse,  Lady  Seymour  Legge 
(who  looked  charming  in  ermine  and  case¬ 
ment  cloth),  the  Marshiness  of  Swamp  (in 


musquash  and  thermogene),  General  Sir 
Ian  Grating,  the  Hon.  Bob  Downe,  Major 
Rex  Holmes,  Lady  Connie  Sewer  (in  mink 
and  wire  netting),  Lord  Dandruff,  Lady 
Anne  Teak,  Admiral  Doubletutt  and  Sir 
Owen  Taylor  with  a  party  of  friends  and 
creditors. 

“  Lady  Virginia  wore  a  yellow  gown  of 
thin  linoleum  picked  out  with  oakum  and 
crepe  hair.  Her  new  car,  a  cream  chaser, 
was  much  admired  as  it  obstructed  traffic 
during  the  performance.  After  a  farewell 
cider  supper  at  the  Ritz,  she  left  to  join  a 
snail-shooting  party  in  Sicily. 

“(Photograph  of  Lady  A’irginia’s  golli¬ 
wog  mascot  on  back  page.)  ” 

Only  48  Hours  j 
to  Go 

Have  you  got  ; 
Your  Ticket?  j 

( See  page  6 )  \ 


Are  the  readers  of  the  papers  publishing 
this  sort  of  thing  satisfied  with  it  as  film 
criticism?  Do  they  flock  to  see  the  pic¬ 
ture  in  consequence?  Why  do  these 
papers  notice  films  at  all  unless  they  com¬ 
ment  upon  them  ?  Why — but  why  go  on  ? 


NEW  GRANGER-DAVIDSON 
PRODUCTION 

Arthur  Rooke  and  British  Company 
leaving  for  France  on  Monday 

j^RTHUR  ROOKE  is  directing  a 
^  screen  version  of  “  Le  Scandale,” 
Henri  Bataille’s  great  drama,  and  is  tak¬ 
ing  his  companv  to  the  South  of  France 
for  the  exteriors  immediately* 

The  strong  cast  includes  Henry  Victor, 
Hilda  Bayley,  Hugh  Buckler,  and  Vanni 
Marcoux,  the  well-known  singer.  I.  B. 
Davidson  himself  is  accompanying  the 
expedition,  which  leaves  Victoria  on 
Monday  mornng. 

Arthur  Rooke  is  full  of  enthusiasm  for 
his  subject,  and  feels  confident  that  his 
company  are  ideally  selected.  I^eslie 
Eveleigh  will  be  in  ‘  charge  of  all  the 
camera  work. 


12 


February  3,  1923 


THE  MOTION  PICTURE  STUDIO 


Where  They  Are - and  What 

They  Are  Doing 


Harold  Shaw  is  in  Los  Angeles. 

Catherine  Calvert,  we  hear,  returns  to 
the  States  on  February  10. 

Gladys  Ffolliott  has  now  recovered 
from  her  protracted  illness. 

Eliot  Stannard  wrote  the  scenario  of 
“Paddy-  -the  Next  Best  Thing.” 

Roy  Byford  has  been  playing  for  the 

B.  and  C. 

Donald  Searle  is  now  recovered  from 
his  recent  mishap. 

Guy  Newall  lias  been  delayed  by  bad 
weather  on  location  in  Italy  on  “  The 
Starlit  Garden.” 

Charles  Barrett  'has  appeared  in  three 
of  the  historical  two-reelers  at  the  B.  and 

C. 

Mary  Rorke  is  at  work  at  the  Beacons- 
field  Studios  for  Guy  Newall  in  “  The 
Starlit  Garden.” 

Lionel  d’Aragon  and  M.  A.  Wether- 
all  are  in  “Curfew  Shall  Not  Ring 
To-night  ”  at  the  B.  and  C.,  for 
Edwin  Greenwood. 

Fred  Karno  himself  has  been  playing 
in  one  of  the  Karno  comedies  this  week 
at  the  Ealing  Studios,  directed  by  Albert 
Brouett. 

Maurice  Elvey  has  just  completed  his 
own  script  of  “  The  Wandering  Jew,”  in 
which  Matheson  Lang  is  to  play  the  title- 
role. 

Svmpathy  will  be  generally  felt  for 
David  Hawthorne,  who  has  been  compelled 
to  cancel  his  contract  to  appear  for  Tom 
Terriss  in  “  Fires  of  Fate,”  owing  to  the 
sudden  serious  illness  of  his  wife. 

Lawford  Davidson  has  arrived  back  in 
town  from  Italy,  and  is  at  present  en¬ 
gaged  on  the  interior  scenes  of  “The 
Starlit  Garden  ”  for  Guy  Newall  at  the 
George  Clark  Studios. 

G.  Monard,  the  French:  camera  ex¬ 
pert,  formerly  of  the  London  Film 
Co.,  is,  owing"  to  the  Ruhr  crisis,  back 
in  London  from  Germany.  With  him 
is  Mdlle.  Marquisette  L.  Bosky,  the 
charming"  little  French  player  who'  has 
become  famous  on  Continental 


Phyllis  Joyce  is  understudying  parts  in 
the  new  play  at  the  Royalty  Theatre, 
“The  Love  Habit.” 


Alicia  Ramsay  has  written  the  scenario 
for  Tom  Terriss’  production  of  “  Fires 
of  Fate”  (Gaumont). 

Richard  Lindsay  is  back  from  Berlin, 
after  completing  his  parts  in  “What  the 
Butler  Saw  ”  and  “The  Uninvited  Guest.  ” 


Stewart  Rome  is  joining  the  cast  of  Tom 
Terriss’  “  Fires  of  Fate  ”  company  on 
location  in  Egypt. 

George  Ridgwell  has  begun  work  on 
“The  Engineer’s  Thumb,”  one  of  the 
Sherlock  Holmes  two-reelers,  at  the 
Cricklewood  Studios. 

We  Flatly  Refuse 
to  Believe - 

That  Henderson  Bland  now  carries  a 
dictaphone. 


That  Kenneth  Gordon  is  reallv  annoyed 
at  the  drawing  of  him  in  Punch  '  of 
January  17. 


That  a  certain  agent  recently  gave  up 
his  seat  in  the  Tube  to  three  ladies  who 
were  standing. 


That  film  critics  will  require  shaves 
after  seeing  “  The  Prodigal  Son  ”  to¬ 
morrow. 


That  Malcolm  Tod’s  publicity  is  really 
up-to-date. 


That  Roy  Byford  is  going  to  the  Car¬ 
nival  as  Cupid. 


That  Bert  Darlev’s  trip  to  Paris  is 
strictly  a  business  one. 


I  hat  Tu-Tankhamen  is  being  added  to 
the  cast  of  “  Fires  of  Fate  ”  to  introduce 
the  element  of  mummy-love. 


That  the  showing  of  films  in  our 
prisons  is  regarded  as  “  Warders’  Treat  ” 
propaganda. 

That  Rex  Wilson’s  film  “  school  ”  was 
inspired  by  G.  B.  Samuelson’s  ventures  in 
“  coaching.” 


A.  B.  I meson  has  been  playing  the 
Jrader  in  “Pearl  for  Pearl”  for  George 
Cooper  (Quality). 

Celia  Bird  is  in  ‘‘The  Speckled  Band,” 
directed  by  George  Ridgwell  (Stoll). 

A.  Bromlev  Davenport  appears  in  a 
new  British  comedy,  “  Horace,”  which  is 
to  be  released  early  this  month.  A.  G. 
Poulton  also  plays  in  this  picture. 

Tristan  Rawson,  lately  seen  in  the  West 
End  in  “  If  Four  Walls  Told,”  and  ‘‘The 
Balance,”  has  played  in  his  first  film  for 
Quality  Plays-  He  is  now  appearing  in 
“The  Beggars’  Opera,”  at  Hammersmith. 

M.  Gray-Murray  is  playing  Dr.  Owen 
in  ‘‘Lady  Jane  Grey  ”  at  the  B.  and  C. 
Walthamstow  Studios.  He  has  recently 
been  playing  Colonel  Penn  in  “  Cur¬ 
few  Shall  Not  Ring  To-night”  at  the 
same  studio. 


Edwin  Ellis  has  completed  his  part 
of  Jimmy,  the  stable  boy,  in  “The  Lady 
Trainer,”  for  Walter  West,  at  Kew. 

Kathleen  Grey  has  been  appearing  for 
Edwin  Greenwood  as  Mistress  Quickly 
in  “  Falstaff,  the  Tavern  Knight,”  at  the 
B  and  C.  (Bramlin’s  booking.) 

Cyril  Percival  and  Jack  Raymond  are 
now  back  in  town  after  an  absence  of 
eight  months  on  the  South  coast. 


Dora  Barton  and  J.  R.  Tozer  are  play¬ 
ing  at  the  Court  Theatre  in  “Three’s  a 
Crowd1.  ” 


Ann  Trevor  and  Clive  Currie  are  in  the 
cast  of  “The  Young  Idea,”  at  the  Savoy 
Theatre. 


Lawrence  Anderson  is  playing  opposite 
Sybil  Thorndike  in  “Advertising  April,” 
ac  the  Criterion  Theatre. 


Jane  Grahame  is  playing  for  George 
Ridgwel'  in  “The  Speckled  Band” 
(Stoll). 

Douglas  MunrO'  is  playing  Abdallah  in 
the  “  Fires  of  Fate  ”  for  Tom  Terriss 
(Gaumont). 


CALLOUS  COUPLETS— No.  1 

In  the  famous  sludio 

An  actress  caught  alight,  you  know. 

Said  the  director,  4<  This  will  mean 
We  must  now  re-take  the  scene,” 


screens. 


AMBITION  &  TALENT  are  undoubtedly  the  essential  factors  in  all  walks  of  life,  but  these  attributes  only  carry  one  so 

far.  It  is  opportunity  that  helps  one  to  attain  great  things.  Having  ambition  and,  I  flatter 
myself,  talent,  I  am  appealing  to  any  film  producer  interested  to  give  me  a  sporting  chance  on  film  work  to  prove  my¬ 
self.  I  am  28,  a  good  all-round  sportsman  (including  Swimming,  Riding,  Boxing,  etc.),  good  height,  stature  and  car- 
riage,  clean  shaven,  tanned  face,  dark  eyes  and  wavy  hair,  white  teeth.  Have  travelled  a  great  deal  and  would  be 
prepared  to  do  so  again.  Artist  by  profession,  but  by  desire  a  film  actor.  Would  take  any  responsible  part  offered  at 
_  merely  living  wage.  Appointment  any  time. _  Address,  Box  E.  502,  Motion  Picture  Studio. 


13 


THE  MOTION  PICTURE  STUDIO 


February  3,  1923 


The  Growth  of  the  Film 


Will  Day  Lectures  to 


the  Optical  Society 


^^N  Thursday,  January  25,  at  the 
Royal  College  of  Science  and 
Technology,  South  Kensington,  Will  Day- 
delivered  before  the  Optical  Society  a 
lecture  on  the  Birth  of  Kinematography, 
and  set  himself  to  trace  the  pi  ogress  of 
knowledge  towards  motion  picture  mak¬ 
ing  and  projection  for  what  it  is  :  a 
plant  of  almost  infinitely  slow  growth. 

Light  from  the  East 

After  a  short  and  pithy  prologue,  he 
started  his  lecture  proper  by  giving  the 
somewhat  startling  information  that  a 
crude  form  of  moving  shadow  entertain¬ 
ment  was  known  so  far  back  as  the 
early  Chinese  era.  Much  later,  but  still 
well  before  Christian  times,  shadow 
shows  were  given  with  the  aid  of  “  Way- 
ang  Figures.”  Again,  the  discovery  of 
glass,  and  possibly  the  earliest  formation 
of  glass  lenses,  dated  from  before  the 
time  of  Pliny,  while  Archimedes  is 
credited  with  having  focused  light  rays 
to  very  practical  purpose  indeed.  Of 
course  we  had  the  classical  excerpt  from 
the  “  De  Rerum  Naturae  ”  of  Lucretius, 
w  ritten  in  the  year  65  b.c.,  wherein  he 
most  clearly  describes  the  phenomenon 
of  persistence  of  vision,  and  a  mention 
of  the  discoveries:  in  refraction  made  by 
Claudius  Ptolemy  rather  later,  in  130 
a.d.,  with  the  further  work  done  on  simi¬ 
lar  lines  by  philosophers  and  scientists  of 
l he  early  Middle  Ages. 

Optics 

Then  came  Porta’s  invention  of  the 
camera  obscura,  though  it  did  not  at  first 


receive  that  name,  and  scarcely  twenty 
years  later  William  Bourne  set  forth  in 
manuscript  a  treatise  on  the  grinding  and 
polishing  of  optical  lenses. 

Athanasius  Kircher  seems  to  have  the 
honour  of  being  the  first  man  to  have 
constructed  and  used  an  optical  lantern 
planned  on  lines  recognizably  akin  to 
modern  practice.  Here,  again,  Mr.  Day 
struck  a  new  note  by  pointing  out  that 
undoubtedly  optical  projection,  probably 
with  the  aid  of  concave  metallic  mirrors, 
was  made  use  of  by  ancient  Egyptian 
and  Grecian  priests  in  staging  their 
temple  mysteries  before  a  scientifically 
ignorant  people. 

After  a  detailed  disquisition  on  projec¬ 
tion  illuminants,  ranging  from  the  tal¬ 
low  candle  to  the  gas-filled  electric  lamp. 
Mr.  Day  turned  to  the  photographic  side 
and  traced  that  research  which  has  been 
necessary  to  the  inception  of  kinemato¬ 
graphy,  starting  with  the  long-since  ob¬ 
served  fact  of  the  darkening  of  silver 
chloride  of  its  exposure  to-  light.  In  1727 
Dr.  Harman  Schultz  described  the  pro¬ 
duction  of  patterns  by  letting  light  shine 
through  a  stencil  upon  a  moist  mixture 
of  silver  nitrate  and  chalk,  but  it  was 
Thomas  Wedgwood,  son  of  Josiah 
Wedgwood,  who  first  got  moderately 
stable  transparency  images  photo-printed 
on  glass.  These  were  not  true  photo¬ 
graphs  either,  but  were  presumably  also 
patterns  printed  through  stencils,  or 
something  of  like  sort. 


I 


I 


I 

I 

S 

\ 

\ 


I 

I 

I 

I 

I 

I 


COMING  TRADE  SHOW 


“Wonder  Women  of  the 
World” 

(A  Series  of  Two-reel  Features.) 

B.  and  C.  Productions — Directed  by 
Edwin  Greenwood1 — Scenario'  by  Eliot 
Stannard — Photographed  by  A.  G. 
Stannard.  Leading  Players  :  Malvina 
Longfellow,  Marjorie  Hume,  Janet 
Alexander,  Dacia,  Russell  Thorndike, 
Charles  Barratt.  Controlled  by  the 
Regent  Film  Co.,  Ltd1.,  193,  Wardour 
Street,  W. 

Wednesday,  February  7,  at  11.15 
a.m. 

New  Gallery  Kinema,  Regent  Street, 

W.i. 

“The  Prodigal  Son” 

and 

“  The  Return  of  the 
Prodigal  ” 
by  HALL  CAINE 

Stoll — Directed  by  A.  E.  Coleby — 
Scenario  by  A.  E.  Coleby — Photo¬ 
graphed  by'  D.  P.  Cooper.  Leading 
Players  :  Henry  Victor,  Stewart 
Rome,  Edity  Bishop,  Adeline  Hayden 
Coffin,  Colette  Brettell. 
Sunday,  February  4,  at  6  p.m. 
Royal  Opera  House,  Covent  Garden, 
W.C.2. 


“  The  Grass  Orphan  ” 
by  I.  A.  R.  WYLIE 

Ideal — Directed  by  Frank  H.  Crane- 
Scenario  by  Eliot  Stannard.  Leading 
Players  :  Margaret  Bannerman,  Doug¬ 
las  Munro,  Reginald  Owen,  Peter 
Dear. 

Tuesday,  February  6,  at  2.15. 
Marble  Arch  Pavilion,  W. 

“Through  Fire  and 
Water  ” 

Ideal -  Directed  by  Thomasi  Bentley 
— Scenario  bv  Eliot  Stannard.  Lead¬ 
ing  Players :  Clive  'Brook,  'Flora  le 
Breton. 

Tuesday,  February  6,  at  11.15  a.m. 
Marble  Arch  Pavilion,  W. 

“The  Harbour  Lights” 

by  GEO.  R.  SIMS  AND 
HENRY  PETTITT 

Ideal — Directed  by  Tom  Terriss. 
Leading  Players  :  Tom  Moore,  Isobel 
Elsom,  Mary  Rorke,  Annette  Benson, 
Gibson  Gowland,  Gerald  McCarthy 
and  A.  B.  Imeson- 
Wednesday,  February  at  11.15 
Marble  Arch  Pavilion,  W. 


D 

1 

1 

I 


The  first  producer  of  a  true  photograph 
was  Niecephore  Niepce,  with  whom 
Daguerre  later  went  into  partnership,  his 
so-called  Daguerreotypes  being  in  all  pro¬ 
bability  due  to  Niepce’s  inventive  facultv. 
In  England  the  pioneer  of  photograph! 
was  Wiliam  Henry  Fox-Talbot,  who  in  a 
lecture  delivered  before  the  Roval  Insti¬ 
tution  in  1839  described  his  new  ‘‘Talbo- 
type  ”  process  for  obtaining  photographic 
prints  on  paper.  In  1852  Fox-Talbot  fur¬ 
ther  invented  the  gelatine-bichromate 
printing  process  which  was  to  be  the  basis 
of  the  famous  “carbon  ”  printing  process 
of  the  present  day. 

The  Film  Proper 

The  first  flexible  celluloid  base  for 
photographic  emulsions  was  due  to  an 
American,  Hyatt,  who  introduced  it  in 
1869,  but  celluloid  itself  had  already  been 
invented  by  an  Englishman,  Alexander 
Parker,  of  Birmingham,  in  1865.  By  the 
year  1S84  emulsion-coated  celluloid'  for 
photography  was  being  marketed  in  Phila¬ 
delphia,  while  in  1887,  a  patent  was 
granted  to  the  Reverend  Hannibal  Good¬ 
win,  an  American  clergyman,  for  a  pro¬ 
cess  of  manufacturing  celluloid  film  simi¬ 
lar  tO1  that  used  later  on  in  kinemato- 
graphv. 

This  brings  us  to  the  era  of  the  first 
hjrlese- Greene  motion  picture  machine 
patent,  and  to  the  almost  equallv  histori¬ 
cal  Donnisthorpe  and  Cri'fts  patent.  In 
short,  we  have  worked  our  way  at  last  to 
the  "‘fathers  of  the  Industry,”  bv  way  of 
a  three-thousand-year  genealogy  of  the 
fathers.  Here  also  came  the  point  where 
Mr-  Day’s  interesting  lecture  took  its  final 
plunge  into  the  sequence  of  actual  motion- 
picture  machines. 

This  part  of  his  lecture  began  with 
mention  of  a  paper  read  before  the  Royal 
Society  by  Dr.  Roget  in  December,  1824, 
wherein  he  first  set  forth  the  connection 
between  known  facts  of  persistence  of 
vision  and  the  use  of  these  facts  in  their 
possible  application  to  Creating  optical 
illusions  of  motion.  But  here  we  must 
regretfully  part  company  with  our  lecturer, 
leaving  those  who  are  interested  to  hunt 
up  for  themselves  the  history  of  the 
Thaumatrope,  Phenakistoscope,  Daeda- 
leum,  Choreutascope,  and  thence  by  way  of 
the  researches  of  Muybridge  and  Marey, 
once  again  to  Friese-Greene,  Lumiere  and 
the  practice  of  the  present  day. 

In  conclusion,  it  is  only  necessary  to 
add  that  the  lecture  was  copiously  illus¬ 
trated  throughout  with  over  a  hundred 
excellent  and  beautifully  projected  lantern 
slides,  including  some  of  the  original  ones 
from  the  old  Regent  Street  Polytechnic. 

Colin  Bennett. 


IMPERTINENT  PARODIES 

1. — A.  E.  Housman 


T\7HEN  last  I  came  to  Islington 
^  ’  Amidst  the  Sun-Light  pale. 
Two  friends  kept  step  beside  me, 
Two  honest  lads  and  hale. 


Now  Charlie’s  in  the  renting, 
And  Jimmy  looks  for  ads. 
But  I  go  not  to  Islington, 
Because  of  Yankee  fads. 


14 


February  3,  1923 


THE  MOTION  PICTURE  STUDIO 


W 


Adelqui  Millar  Productions. — 1,  Lein¬ 
ster  Square,  W.2.  Park  1258. 

Albert-Phillips  Film  Productions.- — - 

Stoll  Studios,  Cricklevvood. 
Willesden  5293-4. 

Film  :  “  An  Agitated  Agitator.” 
Director  :  Edward  D.  Roberts. 
Scenarists  :  Muriel  Alleyne  and 
'  Christabel  Lowndes-Yates. 

Star  :  Fatty  Phillips. 

Cameraman  :  Joe  Rosenthal,  Jnr. 
Type  :  Two -reel  comedy. 

Stage  :  First  week. 


Film  :  “  Scraps  and  Scrapes.” 

Director  :  Edward  D.  Roberts. 

Scenarists  :  F.  Rupert  and  Frank 
C.  Crew. 

Cameraman  :  Joe  Rosenthal,  Jnr. 

Type  :  Two-reel  comedy. 

Star  :  Flora  le  Breton. 

Stage  :  Starting. 

Alliance  Film  Co. — St.  Margaret’s, 
Twickenham.  Richmond  1945. 

Route  :  ’Bus  33a,  37.  Trains  from 
Waterloo  to  St.  Margaret’s  every 
10  minutes. 

Artistic  Films,  Ltd. — 93-95,  Wardour 
Street,  W.l.  Gerrard  3210. 

Film  :  “  The  Monkey’s  Paw.” 

Director  :  Manning  Haynes. 

Scenarist  :  Lydia  Hayward. 

Stars  :  Moore  Marriott  and  Mary 
Ault. 

Cameraman  :  Frank  Grainger. 

Stage  :  Cutting  and  assembling. 

Astor  Productions. — 40,  Shaftesbury 
Avenue,  London,  W.  Gerrard  84  36. 

Director  :  Peter  Astor. 

Atlas  Biocraft. — -58,  Haymarket,  Lon¬ 
don,  S.W.l. 

Film:  “The  Man  Without  Desire.” 

Director  :  Adrian  Brunei 

Stars  :  Ivor  Novello  and  Nina  Yanna 

Cameraman  :  Harry  Harris. 

Scenarist  :  Frank  Fowell. 

Stage  :  Cutting  and  Assembling. 

Bert  Wynne  Productions. — C/o  Frank 
Xeitlin,  32,  Shaftesbury-  Avenue, 
W.l. 

Film  :  “  God’s  Prodigal.” 

Director  :  Bert  Wynne. 

Stage  :  Scheduled. 

Brouett  Productions.  —  Barker’s 
Studios,  Ealing  Green,  W.  5. 
’Phone  :  Ealing  211  and  1582. 

Route  :  District  or  C.L.R.  Tube  to 
Ealing  Broadway.  Piccadilly  Tube, 
change  at  Hammersmith.  ’Bus 
Route  No.  17. 

Films  :  Fred  Kamo  Comedies. 

Director  :  Albert  Brouett. 

Scenarist  :  P.  L.  Mannock. 

Cameraman  :  L.  G.  Egrot. 

Studio  Manager  :  H.  C.  Wans- 
borough. 

Stage  :  Second  week. 

B.  &  C.  Productions. — Hoe  Street, 
Walthamstow.  Walthamstow  364 
and  712. 

Route  :  ’Bus  38.  Tram  81  to 
Bakers’  Arms.  Trains  from  Liver¬ 
pool  Street  to  Hoe  Street  every 
few  minutes. 

Film  :  “  Wonder  Women  of  the 
World.” 

Type  :  One-reelers. 

Director  :  Edwin  Greenwood. 

Scenarist  :  Eliot  Stannard  and 
Edwin  Greenwood. 

Cameraman  :  A.  G.  Kingston. 

Stage  :  Completed. 


Film  :  “  Gems  of  Literature.” 
Director  :  Edwin  J.  Collins. 

Tatpe  :  Two-reel  dramas. 

Cameraman  :  A.  G.  Kingston. 
Scenarist  :  Eliot  Stannard. 

Stage  :  One  a  fortnight. 

Baron  Films. — 91,  St.  Martin’s  Lane, 
W.C.  2. 

Beehive  Productions. — 

Director  :  Bert  Haldane 
Assistant  Director  :  Horace  Cor- 
byn. 

Scenarist  :  Jack  Denton. 


Complete  List  of  all  the  British  Studios,  together 
with  Addresses,  Telephone  Numbers,  Full  Par¬ 
ticulars  of  Current  Productions  and  Routes  for 
::  ::  ::  ::  Reaching  the  Studios  ::  ::  ::  - 


=c3 


Stars  :  Jimmy  Reardon  and  Mar¬ 
garet  Hope. 

Stage  :  Scheduled. 

British  Famous  Films.  — -  “  Wood¬ 
lands,”  High  Road,  AVhetstone. 
Finchley  1297. 

Studio  Vacant. 

British  Masterpiece  Films. — 199, 
Piccadilly,  W.l.  Gerrard  4040. 
British  and  Oriental. — B.P.  Studios, 
Thornton  House,  Thornton  Road, 
Clapham  Park.  Streatham  265  2. 
British  Photoplays. — Devon  Cham¬ 
bers,  28,  Fleet  Street,  Torquay. 
Not  Working. 

British  Productions. — Selborne  Road, 
Hove. 

Film  :  Title  undecided. 

Director  :  Lieut.  Daring. 

Star  :  Lieut.  Daring. 

Cameraman  :  Bert  Ford. 

Stage  :  Assembling 
British  Super  Films. — Worton  Hall, 
Isleworth.  Hounslow  212. 

Route  :  ’Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth  : 
A.m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 

past  each  hour  until  11.51  p.m. 
Extra  trains  :  4.43,  5.13,  5.43, 
6.13,  6.43,  7.13. 

Isleworth  to  Waterloo  :  8.33, 

8.44,  9.3,  9.13,  9.33,  9.44,  10.14, 

10.44.  Same  minutes  past  every 


hour  until  10.44,  11.14  p.m 

Extra  trains  :  5.30,  6.0,  6.30. 

Daisy  Productions. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson. — Lea  Bridge  Road,  E.10. 

Walthamstow  634. 

Route  :  ’Bus  Nos.  35  and  38.  Trams 
81  •  55,57. 

Dewhurst  Productions. 

Film  :  “  What  the  Butler  Saw.” 
Director  :  George  Dewhurst. 

Star  :  Madge  Stuart. 

Cameraman  :  G.  Pauli. 

Stage  :  Cutting  and  assembling. 


WE  CAN  DELIVER  FROM  STOCK 

The  Columbia  12  in.  by  i  in-  Silver-tipped 
Carbons  for  Wohl  and  other  Studio  Lamps. 

Recommended  by  Wohl's  as  the  only  suitable  Carbon 
for  their  Lamps. 

UNITED  KINGDOM  PHOTOPLAYS,  Ltd 

29a,  CHARING  CROSS  ROAD,  W.C.2. 

’Phone  :  Gerrard  8742. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


(6 


'Phone ; 


DEBRIE 


99 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER. 

23,  Mortimer  Street,  London,  W.  i 


Film  :  “  The  Uninvited  Guest.” 

Director  :  George  Dewhurst. 

Star  :  Stewart  Rome. 

Cameraman  :  G.  Pauli. 

Stage  :  Cutting  and  assembling. 

F.  P.-Lasky. — Poole  Street,  Isling¬ 
ton.  Dalston  2770. 

Route  :  ’Bus  38a,  to  New  North 
Road,  and  then  tram  No.  11. 

Gaumont. — -Lime  Grove,  Shepherd’s 
Bush,  W.12.  Hammersmith  2090- 
1-2. 

Route  :  ’Bus  Nos.  12,  17,  and  train 
from  Shepherd’s  Bush  Station. 

Film  :  “  Fires  of  Fate.” 

Director  :  Tom  Terriss. 

Stars  :  Wanda  Hawley,  Nigel  Barrie 
and  Stewart  Rome. 

uameramen  :  St.  Aubyn  Brown  and 
H.  W.  Bishop. 


Scenarist  :  Alicia  Ramsay. 

Stage  :  Casting. 

Next  Production  :  “  Bonnie  Prince 
Charlie.” 

Glen  Film  Productions. — 20,  Lisle 
Street,  W.C. 

Studio  :  “  Belgrave,”  Marine  Ter¬ 
race,  Aberystwyth. 

Not  working. 

“  Gems  of  Art  ”  Film  Co.,  Ltd. — - 

1,  Bear  Street,  W.C. 

Films  :  “  Gems  of  Art.” 

Director  :  Norman  Macdonald. 
Cameraman  :  E.  Groc. 

Stage  :  Fifth  week. 

George  Clark  Productions. — 47,  Ber¬ 
ners  Street,  W.l.  Museum  3012. 
Film  :  “  The  Starlit  Garden.” 
Director  :  Guy  Newall. 

Star  :  Ivy  Duke. 

Cameraman  :  II.  A.  Rendall. 
Scenarist  :  Guy-  Newall. 

Stage  :  Eighth  week. 

Graham  Wilcox  Productions. — 174, 
Wardour  Street,  London,  W.  1. 
’Phone  :  Regent  556-7.  . 

Next  Film  :  “  Chu  Chin  Chow.” 
Director  :  Herbert  Wilcox. 

Stage  :  Starting  shortly. 
Granger-Binger. — 191,  Wardour  St., 
W.l.  Gerrard  1081,  1728. 

Studios  :  Haarlem,  Holland. 

Film  :  “  The  Hypocrites.” 

Stage  :  Completed. 


Film  :  “  The  Lion’s  Mouse.” 

Stage  :  Completed. 

Granville  Productions. — 61,  Berners 
Street,  W.l.  Museum  252  8. 

Film  :  “  Hennessey  of  Moresby.” 
Director  :  Fred  Le  Roy  Granville. 
Stage  :  Starting  shortly-. 

Hardy. — 13.  Gerrard  Street,  W.l, 
Gerrard  2284. 

Harma  Clarendon. — 16,  Limes  Road, 
Croydon.  Croydon  921  and  20  84. 
Hepworth  Picture  Plays. — Walton- 
on-Thames.  Walton  16. 

Route  :  From  Waterloo  :  A.m., 
7.0,  8.0,  9.20,  10.20,  11.20  ;  p.m.. 
12.20,  1.20,  2.20,  3.20,  4.20,  4,54, 
5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  8.20,  8.55,  9.20,  10.20 
11.34. 

From  Walton  :  A.m.,  7.59,  8.29, 
8.41,  8.56,  9,9,  9.46,  10.10,  11.10  ; 
p.m.,  12.10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44,  6.10,  7.10,  8.10,  9.10, 

10.10,  10.35.  11.34. 

N.B. — There  is  a  frequent  train 
service  to  and  from  Shepperton  from 
Waterloo.  The  station  is  as  near  as 
Walton  to  the  studio. 


Film  :  “  Pipes  of  Pan.” 

Star  :  Alma  Taylor. 

Scenarist  :  George  Dewhurst. 
Director  :  Cecil  M.  Hepworth. 
Stage  :  Completed. 

Film  :  “  Illy  of  the  Alley-.” 

Stars  :  Henry  Edwards  and  Clirissie 
White. 

Director  :  Henry  Edwards. 

Stage  :  Completed. 


Film  :  “  Mist  in  the  Valley.” 

Star  :  Alma  Taylor. 

Director  :  Cecil  M.  Hepworth. 
Stage  :  Completed. 

Ideal. — Bore  ham  Woods,  Elstree, 
Herts.  Elstree  52. 

Route  :  Trains  from  St.  Pancras  : 
A.m.,  7.30,  8.0,  8.50.  9.55,  10.45. 
11.48;  p.m.,  12.33,  1.13,  2.35, 

3.55,  4.45,  5.12,  6.2,  6.45,  6.50, 
7.20,  8.8,  9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras  : 
9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.3,  3.56,  4.56,  5.29,  6.18,  6.55, 
7.36,  8.54,  10.14,  11.3. 

Studio  Manager  ;  F.  A.  Kendrick. 
Art  Director  :  J.  T.  Garside. 


Film  :  “  This  Freedom.” 
Director  :  Denison  Clift. 
Star  ;  Fay  Compton. 


ReceSflks  Quality  &  Service  wardour  st 

100%  FILM  100°°  s~:af ■' 

AMFcoloSliln  Developersa  Printers  LOUclOM- 


15 


THE  MOTION  PICTURE  STUDIO 


February  3,  1923 


Several  Directors  have  explained  to  us  the  difficulty 
they  have  of  Setting  quickly  into  touch  with  artistes 
and  others  whom  they  need  for  their  productions,  and 
have  suggested  that  we  publish  addresses  and  .elephone 
numbers  of  such.  _ 


ASHTON,  CHARLES,  Crantock,  Hainault 
Road,  Leytonstone,  E.,  or  Kinema  Club 

ATWOOD,  ALBAN :  25,  Stanley  Crescent, 

W.ll.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.11.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercorn  Place,  N.W. 
Hampstead  3(J83. 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd„W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W.8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

CAREW,  JAMES,  15,  Burleigh  Mansion, 
Charing  Cross  Road,  W.C. 2.  Gerrard  3904 

CHESNEY,  ELIZABETH  :  do  Miss  Morris, 
25,  Clevedon  Gardens,  W.2.  (Flat  4). 
Padd.  5844. 

DARLEY,  BERT,  Kinema  Club,  9,  Great 
Newport  Street.  Regent  630. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

ELLIOTT,  VIOLET,  120A,  Kensington  Park 
Road,  W.i  1.  Park  2077. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

HARRIS,  GEORGE,  33,  Torrington  Square, 
W.C.l. 

HATTON,  MERCY,  55,  Rutland  Park 
Mansions,  Cricklewood,  N.W.  2.  ’Phone  : 
Willesden  1409 

HOWARD,  LIONELLE  :  108,  Alderbrook 
Road  Balham,  S.W.12. 

HUNTER,  ALEX.  G.,  222,  Camberwell 
New  Road,  S.E 

JONES,  T.  ARTHUR:  “High  Tor,” 
Summer  Road,  Hampton  Court. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 


LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977. 

O’NEILL,  EDWARD,  13,  The  Avenue,  St. 
Margaret’s- on-Thames. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

PAXTON,  SYDNEY:  28,  Bedford  Place, 
Russell  Square,  W.C.  Museum,  7235. 

RAYMOND,  JACK  :  53,  Coldharbour  Lane, 
Camberwell  S.E. 5. 

RAYNER,  MINNIE:  Kingwater  Cottage, 
Church  Walk,  Thames  Ditton. 

RAYNOR,  ALBERT  E.,  “Strathmore,” 
Spencer  Road,  Chiswick,  W.4. 

ROME,  STEWART  :  10,  Chisholme  Road, 
Richmond.  Surrey. 

SHEE,  FLORENCE:  221,  Elgin  Avenue, 
W.9.  Messages  Paddington  6036. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres¬ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL:  15,  Grove 
Mansions,  North  Side,  Clapham  Com¬ 
mon  12.  Latchmere  4343. 

STEERMAN  A.  HARDING  :  56  Portland 
Road,  W.i  1.  Park  2529. 

TEMPLETON,  BEATRIX:  20,  Foxglove 
Street,  Wormholt  Estate,  W.  12. 

THATCHER,  GEORGE:  33,  Denbigh 
Street,  Belgrave  Road,  S.W.  Victoria 

2060. 

TOD  MALCOLM,  The  Kinema  Club,  9, 
Gt.  Newport  St.,  W.C. 2. 

TREE,  MADGE  :  15,  Lancaster  Court,  New¬ 
man  St.,  W.i.  Museum  7241. 

WALCOTT,  ARTHUR  :  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  630. 

WALKER,  CHRIS,  Kinema  Club,  or  43, 
Vicarage  Road,  S.E.  5 

WILLIS,  HUBERT,  Mrs.,  29,  St.  Peter’s 
Square,  W.6.  Hammersmith  85. 


YORK,  CECIL  MORTON  :  Kinema  Club 
9,  Great  Newport  Street.  Regent  630. 
Two  lines,  12s.  6d.  per  thirteen  insertions, 
or  £2  5s.  for  a. year,  prepaid. 

Extra  lines ,  is.  per  insertion. 


“  'Y'HE  most  useful  column,  to  my  mind, 
and  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  is  ‘Who’s 
Where.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.” 

CHALLIS  N.  SANDERSON. 


LEICHNERS 

WORLD 
RENOWNED 


Obtainable  from  all  Chemists 
and  Theatrical  Costumiers. 
Price  Sd.  per  stick. 

If  any  difficulty  in  obtaining 
same  apply  direct  to 

Sole  British  Agents : 

VANITIES  LTD., 
15a,  Whitcomb  St. 

(Off  Leicester  Sq.), 

W.C.2 


GREASE 
PAINTS 

&  POWDERS 


^cenarist  :  Denison  Clift. 
Stage  :  Completed. 


THE  PULSE  OF  THE  STUDIO — Continued  from  previous  page. 


Film  :  “  The  Hawk.” 
Director  :  Frank  Crane. 
Star  :  Chas.  Hutchison. 
Stage  :  Tenth  week. 


Film  :  “  Out  to  Win.” 
Director  :  Denison  Clift. 
Stage  :  Preparing  scenario. 

Film  :  “  Mary  Queen  of  Scots.” 
Star  :  Fay  Compton. 

Director  :  Denison  Clift. 

Stage  :  Scheduled. 


Film  :  Old  Bill  Through  the  Ages.” 

Director  :  Thomas  Bentley. 

Stage  :  Scheduled. 

Isle  of  Man  Films. — The  Manx  Studios 
Isle  of  Man. 

Not  working. 

Milton. — Weir  House,  Broom  Road, 
Teddington.  Kingston  1617. 

Studio  closed  for  structural  altera¬ 
tions. 

Minerva  Films. — 110,  Victoria  Street 
S.Wil.  Victoria  7545. 

Not  working. 

NaDoleon  Films  Ltd. — 28,  Denmark 
Street,  W.C.  2.  Regent  975.  Semi¬ 
co  film. 

Not  working. 

Progress  Film  Co. — Shoreham-on- 
Sea.  Shoreham  19. 


Quality  Films. — Windsor  Studios 
Catford.  Lee  Green  948. 

Films  :  One-  and  two-reelers. 
Director  :  George  A.  Cooper. 
Studio  Manager  :  S.  Folker. 
Cameraman  :  R.  Terreneau. 

Stage  :  One  a  week. 

Raleigh  King  Productions.— Wat  - 
combe  Hall,  Torquay. 

Studio  Vacant. 

Regulus  Films. — 48,  Carnaby  Street, 
Regent  Street,  W.I. 

Not  working. 

Samuelson  Film  Co. — Worton  Hall, 
Isleworth. 

Seal  Productions.  —  171,  Wardour 
Street.  Regent  4329. 

Not  working. 

Screenplays. — Cranmer  Court,  Clap- 
ham.  Brixton  295  6. 

Route  :  ’Bus  Nos.  5,  32,  67,  80,  88. 

Trams  2,  4,  6,  8. 

Not  working. 

Stoll. — Temple  Road,  Cricklewood. 

Willesden  3293. 

Route  :  ’Bus  No.  16. 

Studio  Manager  :  J.  Grossman. 

Film  :  “  Top  of  the  World.” 
Director  :  Maurice  Elvey. 

Stage  :  Scheduled. 


Film  :  “  Open  Country.” 

Director  :  Sinclair  Hill. 

Stars  :  Dorinea  Shirley  and  David 
Hawthorne. 

Cameraman  :  A1  Moise. 

Stage  :  Completed. 


Film  :  “  Sherlock  Holmes  ”  Stories. 
Director  :  George  Ridgwell. 

Star  :  Eille  Norwood. 

Cameraman  :  A1  Moise. 


Film  :  “  The  Sign  of  Four.” 

Director  :  Maurice  Elvey. 

Star  :  Eille  Norwood. 

Cameramen  :  Jack  Cox  and  A1  Moise. 
Stage  :  Twelfth  week. 


Film  :  “  The  Wandering  Jew.” 
Star  :  Matheson  Lang. 
Director  :  Maurice  Elvey. 
Stage  :  Starting  shortly. 


Film  :  “  Guy  Fawkes.” 
Director  :  Maurice  Elvey. 
Stage  :  Scheduled. 


Fu 


Films  :  Two-reel  c  >  imas. 
Manchu.” 

Director  :  A.  E.  Coleby. 

Stage  :  Starting  shortly. 

J.  Stuart  Blackton. — Bush  House, 
Aldwych.  Central  1935. 
Walker-Boyd  Sunshine  Productions. 
Film  :  “  There  and  Back.” 
Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. — Princes 
Studios,  Kew  Bridge.  Chiswick 
574. 

Route  :  ’Bus  Nos.  27,  105. 

Broad  Street  to  Kew.:  A.m.,  8.2, 
8.20,  8.45,  9.0,  9.47,  10.17,  10.47, 

11.17,  11.47;  p.m.,  12.17,  12.47, 


1.17,  1.47,  2.17,  2.47,  3.17,  3.47, 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40, 
6.2,  6.20,  6.50,  7.17,  7.47,  8.17, 
8.47,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street 
A.m.,  9.40,  10.8,  10.38,  11.8 

11.38;  p.m.,  12.8,  12.38,  1.8, 

1.38,  2.8,  2.38,  3.8,  3.38,  4.8,  4.38 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20’ 

6.38,  7.8,  7.38,  8.8.  8.38,  9.8,  9.38^ 
Film  :  “  The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Florence  Turner,  Kathleen 
Vaughan,  Nora  Swinburne,  Fred 
Wright,  and  James  Knight. 

Stage  :  Cutting  and  assembling. 


Film  :  “  The  Lady  Trainer.” 
Star  :  Violet  Hopson. 
Scenarist  :  J.  Bertram  Brown. 
Cameraman  :  G.  Toni. 
Director  :  Walter  West. 

Stage  :  Seventh  week. 


Film  :  “In  the  Blood.” 

Director  :  Walter  West. 

Stage  :  Commencing  March  1st. 

Welsh  Pearson. — 41-45,  Craven  Park 
Harlesden,  N.W.  10.  Willesden  2  862 
Route  :  ’Bus  No.  18. 

Film  :  “  Tip-Toes.” 

Star  :  Betty  Balfour. 

Director  :  G.  Pearson. 
Cameramen  :  Percy  Strong  anc 
Emile  Lauste. 

Scenarist  :  George  Pearson. 

Stage  :  Fifth  week. 


Printed  and  Published  bv  ODHAMS  PRESS  Ltd.,  Long  Acre,  February  3,  1923 


The  Motion  Picture  SUtdio,  Saturday ,  Ftbruary  10,  1923  Registered  at  the  G.P.O.  as  a  newspaper. 


Motion  actum  Studio 

fThe  CyfficiuL  Organ  of  the  l<oinema  Clab 


Make  Every  Day 
A  Good  Day  . . . 


In  your  Studio 
by  using 

MANUFACTURED 

WEATHER 

Write  for  Treatise 

CARRIER  ENGINEERING 
COMPANY,  LTD. 

--24  Buckingham  Gate 
London. 


THE  MOTION  PICTURE  STUDIO 


February  io,  1923 


ARTISTES 


p"  ,  ;-.y  •  -wPI 

!T  IflkJlifc 

THELMA 

MURRAY 

Character  &  Emotional  parts 
Leads  for  Stoll,  Masters, 
Raleigh  King,  B.  &  C.,  etc. 
All  corns  :  “LYNDALE.” 
OAKLEY  RD.. 
WHYTELEAFE,  SURREY, 
or  to  the  Kinema  Club. 

NOEL  GRAHAME 

Heavy  Character  &  Comedy. 
Heavy  lead  :  “  Bladys  of  the 
Stewponey,”  “Cost  of  a  Kiss,” 

“  Britain’s  Naval  Secret,”  etc, 

11,  Clanricarde  Gardens, 

Hyde  Park,  W.2. 
Park  4514. 
and  Kinema  Club. 

Photo  bv  Navana. 

MARY  ODETTE 

Just  concluded  :  “The  Lion’s 
Mouse”  and  “The  Hypo¬ 
crites.’’ 

Latest  Releases  : 

“Wonderful  Year,’’ 

“All  Roads  Lead  to  Calvary.” 
All  coins.  :  Sidney  Jay, 

Suite  13,  Palace  House, 
128-132,  Shaftesbury  Av.,W.i 
Reeent  4329. 

GORDON  BEGG 

Dramatic — Character — 
Humorous. 

English,  Continental, 
American  Experience. 
197a,  Latchmere  Road. 
Lavender  Hill,  S.W.  11, 
Telephone:  Battersea  21. 

9hl 

j|y 

DEZMA  DU  MAY 

‘‘  Long  Odds  ”  (Stoll),  “  Rob 
Roy  ”  (Gaumont),  “  Pearl  for 
Pearl  ”  (Quality),  also  Welsh- 
Pearson,  Alliance  Screen 
Plays,  Ideal,  Davidson’s. 

170,  HIGH  ROAD, 

ILFORD  ,  E 

GEORGE  KEENE 

Star  Lead.  Disengaged. 
Featuring—"  Black  Sheep,” 
“Through  Stormy  Waters,” 
“  Nothing  Else  Matters,” 

“  Sweet  and  Twenty,”  and 
“  Coster  Wooing,”  etc. 
Address : 

121b,  Church  St.,  Croydon 
’Phone  :  Croydon  835. 


Rosina  Wright. 

“Sister  Ursula”  in  “  Per- 
petua  Mary’’ (Famous-Lasky) 
“  The  Nurse  ”  to  “The  Grass 
Orphan”  (Ideal  Film). 
"Phillipa”  in  “Open  Country” 
(Stoll  Film). 

8  years  Film  experience. 

8a,  GOLDERS  WAY, 
GOLDERS  GREEN, N.W.ll 
or  Kinema  Club. 


ADELINE  HAYDEN  COFFIN. 

Sympathetic  Mother,  Grande  Dames. 
Character  Parts,  “  Mrs.  Gatty,’’  in  “Christie 
Johnstone  ”  (Broadwest),  “  Margaret  Howe” 
in  “  Beside  the  Bonny  Brier  Bush  ’’  (Lasky), 
“Nanny"  in  “  Tell  your  Children  ’’  (Interna¬ 
tional)  “Anna  ”  in  “  The  Prodigal  Son  ”  (Stoll). 

55.  Campden  St.,  Kensington.  W.8. 


Tel.  : 

Park  3623. 

THIS  SPACE 

PHOTO 

TO  LET 

BLOCK 

£3  for  13  insertions, 
including  cost  of 

making  block. 

F.  C  R  E  M  L  I  N  . 

Montem  Road,  Forest  Hill,  S.E.23,  or  Kinema  Club 


ARTISTES  .  .  . 


ARTHUR  PUSEY 

At  present  South  Africa 
Starring  in  “  The  Blue  Lagoon"  for  I.V.T.A. 

FRANK  ZEITLIN’S  AGENCY, 

32,  SHAFTESBURY  AVENUE,  W. 


MILTON  ROSMER 

INVITES  OFFERS. 

16,  Weymouth  Street,  W. 1.  ’Phone:  Langham  2243 


MARIE 


A  U  L  I  , 


Character  and  Comedy. 

235.  King's  Road,  Chelsea 

WARREN  HASTINGS, 

5,  POND  PLACE, 
CHELSEA,  S.W.3. 

I  NJV  IT  E  S  OF  F£  £  JL 

HARCOURT  TEMPLEMAN, 

Assistant  Director  (late  Screen  Plays). 

At  Liberty.  Returned  from  Tour. 

Corns.  :  33,  Ennismore  Avenue,  Chiswick,  W.4. 

P  RO DUCE R .  7  7  . 


W.  P.  KELLINO, 

STOLL  STUDIOS, 
CRICKLEWO'OD. 


THIS  SPACE  TO  LET 
17s.  6d.  for  13  insertions 


COSTUMIER 


Consult  .  .  . 

W.  CLARKSON, 

THE  COSTUMIER, 

41  &  43,  Wardour  Street,  W. 

’Phene;  Gerrard  612. 


SCENARISTS.  .  . 


•  • 


G.  FORT  BUCKLE, 

Scenarios 

(Originals  and  Adaptations) 

“THE  YELLOW  CLAW,” 

“THE  NIGHT  HAWK," 

“  M’LORD  OF  THE  WHITE  ROAD.” 
Address  : 

41.  Glasshouse  Street,  W.l, 

’Phone  :  Regent  4747. 
or  Kinema  Club,  Regent  630. 

GERALD  DE  BEAUREPAIRE, 

Editing,  Titling,  Continuities. 

62,  Foxbourne  Road,  Balham,  S.W.17. 

KINCHEN  WOOD, 

Late  Wm.  Fox  Studios,  Los  Angeles. 

7,  Wymering  Mansions,  Maida  Vale,  W.9 

C  A  M  E  R AMEN  .  .  ■ 

I.  R  O  S  E  M  A  N 

Cameraman. 

Open  for  Engagements. 

9,  GREAT  NEWPORT  STREET,  W.C.2. 


CAMERAMEN. 


ALFRED  H.  MOISE. 

PREMIER  CAMERAMAN— 

:  SCIENTIFIC  OUTFIT.  : 

Formerly  Chief  Cameraman  for  Tanhauser, 
Norma  Talmadge,  British  &  Colonial,  etc. 

9,  Gt.  Newport  Street,  W.C.2. 

_ _ "Phone — Regent  630. 

L.  G.  EG  ROT 

EXPERT  CAMERAMAN. 

“  The  Better ’Ole, ”  etc.,  etc.,  . 

. “  The  Wonderful  Story.’’ 

Offices  and  Dark  Rooms  : 

2b,  Streatham  Place,  S.W.2. 

’Phone  :  Streatham  3085. 


PUBLICITY 


“  Let  me  handle  your  publicity  account.’’ 
Information  gladly  given, 

JOHN  CORNYN 

Advertising  ::  Publicity 

231,  BYRNE  BLDG.,  Los  Angeles, 

CALIFORNIA. 


A  DOG 

with  a  wonderful  character,  accompanied 
by  hL  master.  Invites  offers. 

C/o  “M.P.  Studio.” 

WILLIE 

DAVIES 

KINEMA  ART  EXPERT, 

161a,  HIGH  STREET, 
KENSINGTON,  S.W. 

Latest  Super  Productions  : — - 

“  Carnival.”  “  Bohemian  Girl.” 
“  Love  in  a  Whirlwind.” 


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2 


February  io,  1923 


THE  MOTION  PICTURE  STUDIO 


THE 

MOTION 

PICTURE 

STUDIO 

Editorial  and  Advertisement  Offices : 

93,  LONG  ACRE,  LONDON,  W.C.2. 

Telephone:  Telegrams: 

Gerrard  Southernwood, 

9870  Rand,  London 


Vol.  2.  No.  88.  February  10,  1923 


A  Real 
Advertisement 

HE  second  Kinema  Club  Carnival, 
on  Monday,  was  something  much 
more  than  a  deservedly  successful  enter¬ 
prise  on  the  part  of  the  Kinema  Club. 
Many  were  the  Trade  personalities  outside 
the  Club  who  foregathered  at  the  Hotel 
Cecil.  The  renting  and  exhibiting  sides 
of  the  Industry  were  well  represented. 
The  general  public  may  have  found  it  hard 
to  believe,  on  viewing  the  festive  scene, 
that  the  British  Industry  is  on  its  last  legs  ; 
and  we  should  like  to  have  taken  there 
one  or  two  of  the  unrepresentative  but 
blatant  American  “  know-alls,”  who  have 
lately  been  predicting  our  practical  extinc¬ 
tion.  It  was,  in  effect,  one  of  the  best 
advertisements  we  have  had  for  some 
time,  and  we  heartily  congratulate  Billie 
Bristow  and  all  those  associated  with  her 
in  its  organisation.  It  has  done  good  to 
every  section  of  British  filmdom,  and  in 
the  name  of  those  on  the  purely  creative 
side,  we  thank  the  other  sections  for  the 
support  that  they  gave  us. 

Horror 

Films 

agree  with  Lena  Ashwell  that 
films  dealing  with  gruesome  and 
morbid  sides  of  life  in  harrowing  detail  are 
not  fit  for  general  exhibition  to  audiences 
which  include  children.  Animalism,  grisly 
crime,  and  unwholesome  excitement  are 
slightly  at  a  discount  in  pictures  of  to-day, 
but  they  still  survive,  especially  in  the 
“  serial,”  to  the  detriment  of  the  business. 
Unsavoury  depiction,  most  of  us  will 
agree,  is  only  artistically  and  commercially 
warranted  when  the  merit  of  the  story  is 
so  marked  as  to  transcend  such  objections. 
Even  in  these  cases,  impressionable 
children  are  only  impressed  with  the 
vividness  of  the  horror.  We  imagine  that 
if  Edgar  Allan  Poe’s  publishers  had  found 
his  stones  hampered  commercially  by  an 
“A”  certificate  he  might  conceivably  have 
lightened  them  ;  and  this  would  have 
been  a  pity.  The  present  solution  regarding 
picture-plays  .must  be  on  the  lines  of 


refraining  from  making  everybody  shudder 
until  those  who  don’t  suffer  by  it  can  see 
pictures  by  themselves. 

Restricting 
True  Art 

UT  when  will  this  time  come?  We 
see  no  signs  of  it — or  very  few. 
The  limitations  of  the  “  A  ”  certificate  are 
based  on  very  real  considerations  for  the 
coming  generation  of  this  country,  and 
this  is  more  important  than  the  welfare  of 
our  Industry,  although  many  of  our  hard 
business  men  cannot  be  expected  to  take 
such  a  broad  view.  The  danger  to  the 
young  and  impressionable  mind  has  been 
ridiculously  overdrawn  by  the  enemies  of 
the  screen,  but  it  unquestionably  exists, 
and  the  Industry’s  recognition  of  it  will 
enhance  its  own  prestige.  Meanwhile,  a 
picture  is  a  good  business  proposition 
partly  because  it  receives  the  “  U  ” 
certificate,  which  fact  discourages  to  some 
degree  the  making  of  “  A  ”  pictures. 

Coming  Trade  Shows 

“THE  HYPOCRITES”  (Granger-Binger) 

New  Gallery  Kinema,  Thursday, 
Feb.  15,  at  11.15  a-m- 

“  THE  MONKEY’S  PAW  ”  (Artistic) 

Alhambra,  Friday,  Feb.  23,  at 
1 1. 1 5  a.m. 

“  THE  BLUE  LAGOON  ”  (I.V.T.A.) 

New  Gallery  Kinema,  Tuesday, 
Feb.  27,  at  1 1  a.m. 

Words  and 
Vision 

N  giving  evidence  before  the  Play 
Licensing  Commission  some  years 
ago,  the  late  Sir  W.  S.  Gilbert  pointed  out 
the  difference  between  reading  about  Eliza 
having  a  bath  and  seeing  it  on  the  stage. 
Let  us  not  forget  that  the  classics  of 
literature  may  be  innocuous  while  they 
consist  of  the  printed  word,  but  highly 
undesirable  in  pictorial  form  on  the  moving 
screen.  This  vital  consideration  (so  often 
overlooked  when  the  Censor  tinkers  with 
filmed  classics)  is  an  additional  reason  for 
hesitation  before  advocating  “  everything 
for  everybody  ”  in  the  Kinema. 

An  American 
Rally 

'T'HE  American  Historical  Revue  and 
-*■  Motion  Picture  Exposition,  to  be 
held  in  California  this  summer,  will,  in  all 
probability,  be  the  greatest  advertisement 
the  Industry  has  ever  known.  Every 
section  of  the  business  is  mustering  in 
force,  including,  of  course,  Hollywood  and 
Los  Angeles,  en  masse.  President  Harding 
will  attend,  as  it  is  also  incidentally  a 
patriotic  celebration  of  the  centenary  of 
the  Monroe  Doctrine.  We  admire  the 
spirit  of  the  project,  and  wonder  incidentally 


if  the  promulgation  of  the  Monroe  Doctrine 
will  extend  to  an  embargo  on  the  importa¬ 
tion  of  all  films  from  abroad.  The  whole 
idea  seems  very  American.  Our  imagina¬ 
tion  boggles  at  the  thought  of  a  British 
piece  of  national  propaganda — say,  on  the 
two-power  naval  standard,  or  making 
Germany  pay — taking  the  form  of  Mr. 
Bonar  Law  at  Olympia  or  the  Crystal 
Palace  with  the  Cabinet,  their  faces 
plastered  with  “  No.  5,”  facing  the  com¬ 
bined  batteries  organised  by  the  British 
Producers,  Association,  in  scenes  from 
scenarios  prepared  in  Whitehall. 

A  British 
Burst 

HE  New  Year  has  already  seen  some 
splendid  new  British  pictures,  with 
more  to  come.  There  is  a  marked  technical 
advance  in  their  quality,  and  they  are 
evidence  of  much  brains  and  care.  It  is 
pleasant  also  to  note  their  variety.  Fresh 
ground  is  being  broken  in  several  directions 
most  courageously.  They  have  been  well 
received,  and  we  think  from  this  and  from 
other  indications  that  the  credit  of  the 
Industry  stands  higher  to-day  than  ever 
before.  If  we  are  right,  this  can  only  result 
m  extension  and  development  on  a  wide 
scale,  and  consequently  in  more  studio 
activity  for  everyone. 

“  Inside 
Information  ” 

Y  the  way,  what  curious  stories  one 
hears  about  new  pictures  shortly  to 
be  Trade  shown  !  And  what  divergent 
ones  !  Someone  who  knows  someone 
whose  brother  is  in  the  property-room 
has  it  on  unimpeachable  authority  that 
the  new  picture  is  going  to  electrify  the 
world.  Someone  else  whose  cousin  once 
nearly  sold  a  motor-bicycle  to  a  girl  in 
the  cutting-room  warns  us  that  they 
dare  not  put  the  picture  out  until  they 
give  at  least  three  Press  lunches  and  retake 
all  the  exteriors.  When  the  picture  is 
ultimately  shown  these  prophets  “  in  the 
know  ”  are  more  often  than  not  utterly 
confounded  by  a  widely  different  realisa¬ 
tion  of  the  completed  result,  but  they  do  it 
again  next  time  notwithstanding. 

Out 

With  It 

TEMPLE  THURSTON,  speaking 
*  at  the  Stoll  dinner,  this  week, 
observed  that  he  found  it  difficult  to  say 
what  he  thought  of  most  British  producing 
companies  and  drink  their  healths  too  ! 
This  sounds  ominous.  We  believe  that 
this  illustrious  novelist,  whose  studio 
associations  are  extensive,  really  did  drink 
the  toast.  We  now  await  with  interest  his 
opportunity  of  speaking  freely,  and  feel  sure 
that  the  whole  of  the  studio  side  would 
welcome  candour  from  such  a  source. 
Our  columns  are  wide  open  to  his 
views. 


3 


THE  MOTION  PICTURE  STUDIO 


February  io,  1923 


H  E  N  R  Y 

VICTOR 

Title  “Role  in 

“  THE  PRODIGAL  SON.” 


Now  co-starring  with 
HILDA  BAYLEY  in 


“THE  SCANDAL” 


VACANT  IN  FOUR  WEEKS.  Communications  c/o  “Motion  Picture  Studio.” 


y. 


Stewart 

Rome— e. 


MAGNUS 

in 

“THE 

PRODIGAL 

SON.” 


Permanent  Address  ; 

1 0,  Chisholm  Road,  Richmond,  Surrey. 


4 


February  io,  1923 


THE  MOTION  PICTURE  STUDIO 


HIGH  LIGHTS 

Intimate  Studio  and  Club  Gossip 


W/e  understand  from  Sidney  Jay  that 
W  Rudolph  Valentino-  may  very 
shortly  be  seen  in  the  West  End. 
This  means  a  personal  appearance  and 
not  on  the  screen  ! 

*  *  * 

eorge  Dewhurst,  we  hear,  is  about 
to-  resume  production  for  Baron 
Films.  Details  of  the  subjects  are  not 
yet  available,  but  Dewhurst  is  busy 
on  scripts. 

^  tJs- 

eorg’e  Ridgwell  is  now  completing 
“  The  Cardboard  Box  ”  episode 
of  Sherlock  Holmes  at  the  Stoll 
Studios.  Eva  Llewellvn,  Florence 
Maude  Wulff,  Johnny  Butt  and  Hilda 
Antony  are  the  principals  in  this  two- 
reeler. 


on  the  Gaumont  production  of  Sir  A. 
Conan  Doyle’s  “Fires  of  Fate.” 

XT igel  Barrie,  by  the  way,  is  another 
^  Englishman  who  has  won  screen 
fame  in  the  States.  An  old1  Hailey- 
burian,  he  left  England  ten  years  ago. 
During  the  war  he  served  with  the 
Canadian  Air  Forces. 

*  -* 

T_T enry  Edwards  told  me  at  the  Hotel 
A  Cecil  Carnival  that  he  was  full 
of  plans  for  the  future,  but  discreetly 
refrained  from  details.  His  latest 
picture,  “  Lily  of  the  Alley,”  which 
has  no  sub-titles,  will  very  shortly  be 
shown  by  Hepworth. 

*  *  * 


*■  *  * 

TUT  ugh  E.  Wright’s  Screen  Follies 
A  A  are  giving  performances  at 

kinemas,  and  opened  at  the  Palma- 
dium,  Palmers  Green,  on  Thursday. 
The  show  is  a  bright  one,  crammed 
with  film  burlesques  from  Hugh’s  own 
facile  pen. 

-*  *  * 

.  B.  Samuelson  is  now  hard  at 

work  again  personally  directing 
a  new  sporting  picture  at  the  Isle  worth 
Studios.  Rex  Davis  is  playing  an 
athletic  lead,  and  the  strong  cast  also 
includes  Lilian  Hall-Davis,  Josephine 
Earle  and  Tom  Reynolds. 

*  *  * 

ast  week  Victor  McLaglen  made  a 
personal  appearance  at  the  Empire 
Kinema,  Wiliesden,  in  connection  with 
“The  Sport  of  Kings.”  His  reception 
was  a  cheering  one.  Victor  made  a 
brief  speech  and  afterwards  auto¬ 
graphed  large  quantities  of  portraits 
of  himself,  the  proceeds  of  which  were 
sent  to  the  Wiliesden  Hospital. 

*  *  * 

n  Tuesday  afternoon  S.  Rowson 
acquired  the  rights  for  the  screen 
of  Brandon  Thomas’s  world-famous 
“Charlie’s  Aunt” — a  subject  which 
has  more  than  once  been  for  disposal, 
but  which  has  been  now  secured  by 
Ideal  Films.  The  price  is  said  to>  be 
the  record  figure  of  ^20,000,  plus 
royalties  for  30  years.  It  seems  a  lot 
of  money. 

^ 

anda  Hawley,  who  looked  so 
charming  at  the  Kinema  Carni¬ 
val  on  Monday,  only  arrived  the  same 
morning  on  the  Celtic.  With  her  came 
Nigel  Barrie  and  Pedro  de  Cordoba. 
They  are  all  joining  Tom  Terriss  in 
Egypt  immediately  to  commence  work 


nr  he  conflicting  rumours  respecting 
Peggy  Hyland’s  coming  activities 
are  now  disposed  of  by  the  announce¬ 
ment  that  she  is  returning  to  the  stage 
— temporarily,  at  any  rate.  She  w  ill 
be  seen  in  the  revival  of  “A  Little  Bit 
of  Fluff,”  at  the  Ambassadors’  on  the 
iqt’i  of  this  month. 

*  * 

anning  Haynes  has  now  completed 
“The  Monkey’s'  Paw.”  It  will  be 
Trade  shown  in  a  fortnight.  Haynes 
has  devoted,  many  days  to  the  final 
stages  of  cutting,  and  the  picture  has 
had  the  advice  of  W.  W.  Jacobs  on 
the  titling.  It  is,  of  course,  entirely 
dissimilar  from  the  previous  Jacobs’ 
films  from  this  director,  and  should  be 
exceptionally  interesting. 

*  *  * 

"Cffora  le  Breton  attended  a  carnival 
ball  at  Gravesend  last  week. 
Aylmer  J.  Hayes  was  the  organiser, 
and  the  function  was;  in  aid  of  St. 
Dunstan’s  Hostel.  Flora  received  an 
illuminated  address  of  welcome,  and 
made  a  little  speech  of  thanks,  after¬ 
wards  judging  a  fox-trot  competition 
which  was  keenly  contested  by  local 
couples.  Flora’s  autograph  was  in 
much  demand. 

*  *  * 

A  is  was  exclusively  announced  in 
last  week’s  issue,  the  company 
in  the  new  I.  B.  Davidson  picture  de- 
,  parted  for  the  south  of  France  this 
week.  The  cast,  which  includes 
Hilda  Bavley  and  Henrv  Victor,  was 
almost  entirely  booked  by  Sidney  Jay. 
“Le  Scandale  ”  will  be  made  entirely 
or.  the  Riviera,  and  studio  arrange¬ 
ments  there  are  completed.  The 
scenario  has  been  written  by  Kinchen 
Wood,  and  Arthur  Rooke  is  directing. 


We  understand  that  the  title  of  the 
first  of  the  Seymour  Hicks’  sub¬ 
jects  in  which  the  popular  actor  will  be 
directed  by  Hugh  Crcis-e,  is  “  Always 
Tell  Your  Wife.”  Production  has  been 
delayed  by  Ellaline  Terriss’  illness, 
but  will  shortly  proceed  apace. 

*  *  ,  * 

Charles  Penley,  known  in  connection 
with  Provincial  Cinematograph 
Theatres,  Ltd.,  as  an  expert  prologue 
and  special  presentation  arranger  for 
films,  has  now  transferred  his  activities 
from  that  firm  to  Bramlins,  where  he 
is  now  accessible  to  all  those  interested 
in  that  (Erection. 

*  *  * 

George  Pearson  is  well  advanced 
with  the  new  Betty  Balfour  pic¬ 
ture.  “Tipi-toes  ”  is  a  quaint  human 
story  of  a  little  vaudeville  dancer — a 
role  which  Betty  should  enact  to  per¬ 
fection.  Some  fairly  laige  audience 
crowds  are,  I  hear,  being  utilised  in 
the  final  stages  of  production. 

*  *  * 


I  hope  the  presentation  of  “The  Pro¬ 
digal  Son,”  on  Sunday  last,  is  not 
going  to>  set  a  precedent  for  Sunday 
Trade  shows.  It  would  be  regrettable 
■if  it  were  so.  Many  in  the  industry 
set  special  value  on  the  first  day  of  the 
week  as  a  day  of  rest,  apart  from  any 
other  considerations.  Those  whose 
lot  it  is  to'  see  films  all  the  week  are 
more  in  need  of  a  relaxation  than  most 
people,  and  I  -sincerely  trust  that  the 
instance  in  question  will  remain  an 
isolated  one. 

#  *  * 


Tj’elix  Orman  is  severing  his  associa- 
tion  with  J.  Stuart  B’ackton,  for 
whom  he  has-  acted,  among  other 
things,  as  publicity  representative. 
Orman,  of  course,  is  a  good  deal  more 
than  that.  His  reputation  as  a 
litterateur  in  varied  fields  is  a  wide 
one.  Everyone  will  wish  him  success' 
in  the  future.  His  work  has  been  ex¬ 
tremely  valuable  to-  Blackton,  and  his 
personal  charm  will  always  be-,,  a  real 
additional  asset  in  similar  activities. 
He  was  also  responsible  for  the 
scenario  and  story  of  “The  Glorious 
Adventure,  ” 


and  acted  as  casting 


ft 


director  in  addition. 


5 


THE  MOTION  PICTURE  ETUDIO 


February  io,  1923 


Wanted — a  Standard 

Safeguards  from  Incompetents  Badly  Needed 

by  CHRISTABEL  LOWNDES-YATES 


TT  is  the  day  of  efficiency,  when  there 
is  much  talk  of  the  setting  of 
standards,  the  high  level  of  quality  re¬ 
quired  and  the  necessity  of  safeguards  to 
ensure  that  measure  of  quality  being 
maintained.  But  though  these  standards 
have  readied  British  trade  as  a  whole, 
there  is  one  trade  they  have  no'c  yet 
reached,  and  that  is  the  Film  Trade. 
When  they  do,  it  will  be  better  for  all 
concerned. 

There  are  few,  if  any,  professionals 
who  are  no'c  hit  by  this  lack  of  a  standard 
of  proficiency,  and  I  venture  to  add  that 
there  is  not  a  single  person  in  the  busi¬ 
ness  who  is  not  injured  by  the  state  of 
affairs,  and  the  consequent  chances  that 
bogus  people  of  all  kinds  have  to  claim 
for  themselves  professional  or  technical 
status  to  which  they  have  no  shadow  of 
claim. 

It  is,  for  instance,  open  to  anyone  who 
has  ever  paid  fees  to  a  Film  School,  or 
walked  on  by  “  special  introduction  ”  in 
a  picture,  to  describe  themselves  as  “  film 
artistes  ”  for  ever  afterwards.  Ten  per 
cent,  of  their  hearers  may  take  the 
trouble  to  go  into  things,  but  90  per  cent, 
will  believe  them.  ISuch  people  can  and 
do  get  posts  by  sheer  talk  that  should  be 
given  to  experienced  artistes.  In  conse¬ 
quence  bona-fide  actors  may  find  them¬ 
selves  out  of  work. 

Take  for  another  example  the  experi¬ 
enced  producer.  He  may  be  full  of  ideas 
and  have  the  knowledge  and  proficiency 
that  only  experience  can  give;  but  he  may 
be  out  of  work,  while  other  men  — 


Mr.  George  Cooper  has  secured  an 
exceptionally  strong  cast  for  the:  Quality 
Film  production  he  is  now  engaged  upon 
entitled,  “  The  Reverse  of  the  Medal.” 
This  little  plav  sees  Mr.  Cooper  in  a  new 
field. 

It  is  a  drama  which  portrays  the  dra¬ 
matic  moments  which  sear  the  souls  of 
those  in  high  command  of  an  army.  The 
entire  drama  of  a  battle  is  reflected  in 
the  acting  of  those  directing  its  momen¬ 
tous  decisions  in  the  bureaux  of  G.H.Q. 

All  the  characters  chosen  for  this  piece 
are  actors  who  have  had  a  distinguished 
military  career  during  the  Great  War ; 
their  names  being,  Clive  Brook,  Olaf 
Hytten,  Bertram  Terry,  Hamilton  Gay, 
M.  A.  Stuart  and  B.  Charles. 

George  Cooper  is  now  engaged  upon  his 
third  series  of  one  and  two  reel  films 
which  he  is  producing  for  Quality  Film 
Plays,  Ltd.  His  object  and  that  of  the 
company  is  to  give  to  the  public  little 
dramatic  or  humorous  stories  entirely 
free  from  padding ;  stories  in  which  the 
subtletv  of  detail  finds  expression,  and 
in  which  the  artistes  are  not  mere  pop¬ 
pets,  but  real  personalities,  expres¬ 
sing  rhat  personality  by  action  and  ges- 


ama'ceurs  at  producing — can,  by  making 
exaggerated  statements  about  their  work, 
get  men  to  finance  their  enterprises,  while 
che  man  of  experience  hangs  about  wait¬ 
ing  for  a  job. 

It  is  true  that  men  who  back  amateurs 
lose  their  money,  and  learn  wisdom,  but 
it  isn’t  the  sort  of  wfisdom  that  helps  the 
industry.  It  is  the  kind  that  makes  ane 
financier  say  to  another:  “There’s  no 
money  in  British  films — take  my  word  for 
it.  Buy  an  interest  in  Boot  Polish  ana 
leave  films  alone.  I’ve  been  in  the  busi¬ 
ness,  and  I  know.” 

The  same  holds  good  among  scenarists. 
The  Producer  thinks  that  because  he  can 
make  a  good  play  from  a  clever  script 
chat  the  laborious  business  of  learning  to 
write  a  good  story  is  the  merest  legend — 
in  fact,  that  “  anyone  can  write  a  good 
story.”  The  result  is  that  the  producer 
butts  in  as  an  amateur  to  a  specialist’s 
job,  and  spoils  his  chance  of  a  great  suc¬ 
cess,  because  his  story  is  an  amateur 
effort.  He  may  not  see  this  himself — it  is 
only  the  greatest  among  us  who  can  see 
the  faults  in  our  own  creations — but  the 
public  sees,  and  it  is  the  public  who  gives 
the  ultimate  verdict.  The  truth  is  that 
the  finest  production  in  the  world  does 
not  get  its  full  meed  of  success  if  the 
story  is  the  work  of  an  amateur. 

Do  not  run  away  with  the  idea  that 
because  a  great  producer  ruins  his  chance 
of  success  by  a  bad  story,  or  any  of  the 
other  amateur  touches  which  mar  so 
many  of  our  films,  that  it  is  just  a  piece 
of  bad  luck  for  the  producer,  and  the 


tune.  None  of  the  plots  in  this  series,  it 
is  said,  are  conventional  or  banal,  and 
each  one  will  convey  the  producer’s  clever¬ 
ness  in  avoiding  the  obvious  and  appeal  to 
the  imagination  of  the  audience.  In  these 
pictures  the  sub-title  is  always  subordinate 
to  pictorial  expression. 

In  one  of  the  new  series,  a  special  de¬ 
velopment  of  scenic  photography  is  pro¬ 
mised,  the  counterpart  of  which  has  never 
been  attempted1  in.  America  or  elsewhere. 
Randal  Terreneau,  the  cameraman, 
wishes  to  keep  this  secret,  however,  until 
the  picture  is  shown. 

The  success  of  former  Quality  Produc¬ 
tions  already  released  has  been  gratify- 
ingly  successful  and  constitutes  a  com¬ 
plete  justification  of  the  policy  of  giving  to 
the  public  pictures  whose  every  detail  is 
the  finished  study  of  the  producing  mind 
rather  than  the  tedious  and  cumbersome 
delivery  tha'c  depends  upon  spectacular 
production  in  mass  as  its  impelling  in¬ 
fluence.  The  public  has  needed  variety 
in  its  program  ever  since  the  short  pic¬ 
ture  practically  vanished  from  the  screen. 
Each  Cooper  picture  ik  produced  with 
all  the  care  and  thought  that  is  spent  on 
the  best  of  the  big  films. 


people  who  are  backing  the  film,  and  that 
is  all.  A  film  that  is  not  up  to  standard 
is  a  blow  at  che  whole  Britiesh  Film 
Trade. 

This  trail  of  the  amateur  over  our  In¬ 
dustry  is  ruining  our  Trade.  Our  best 
pictures  are  liable  to  be  overwhelmed  in  a 
flood  of  mediocrity.  Our  bad  pictures 
never  seem  to  be  forgotten.  Financiers 
who  could  be  putting  money  into  films 
are  afraid  because  of  the  amateur  experts 
who  talk  so  convincingly  and  can  do. 
nothing  thoroughly,  except  lose  their 
backers’  money.  Moneyed  men  have  been 
“  had  ”  so'  often  that  they  have  grown 
wary,  wi'ch  the  result  that  artistes  are  out- 
of-work  because  it  is  almost  impossible  to 
raise  the  money  to  employ  them.  Let  us 
acknowledge  here  that  our  artistes  are 
one  of  our  national  assets,  whose  work 
should  be  increasing  our  trade  both  here 
and  overseas. 

I  am  told  that  artistes  in  France  are 
licensed.  In  other  words,  the  experienced 
and  capable  actor  holds  a  certificate  which 
he  can  produce  in  evidence  of  his  state¬ 
ment  that  he  can  act.  The  Kinema  Club, 
in  verifying  all  credentials  of  would-be 
members  before  admitting  to  membership, 
is  doing  something  of  the  same  thing ; 
but,  unfortunately,  membership  of  'che 
Kinema  Club  does  not  guarantee  work. 
In  getting  engagements  little  Miss  Inex¬ 
perience,  who  is  film  mad  (and  whose 
father  will  put  money  into  the  firm  to  get 
his  little  girl  a  chance),  will  have  a  far 
better  chance  of  good  work  than  Miss 
Half-made  Star,  with  her  steady  record 
for  good  work  but  no'  financial  backing. 

It  is  small  comfort  to  the  artistes  wait¬ 
ing  for  work  to  hear  that  the  film  in  which 
Miss  Inexperience  wras  playing  did  not 
succeed,  and  that  the  company  will  have 
to  close  down  until  they  can  raise  the 
money  for  another  picture.  Film  artistes, 
like  other  people,  have  got  to  live,  and 
there  are  too  many  firms  closed  down 
at  present. 

Let  us  all  fight  hard  against  this  prin¬ 
ciple  of  decrying  technical  skill — not  bar¬ 
ring  the  amateur  out,  since  everybody  has 
got  to  begin — but  letting  them  win  their 
laurels  by  hard  work  like  other  people. 
Let  us  set  our  faces  against  those  who 
talk  big  and  ask  them  for  their  creden¬ 
tials.  Let  us  work  for  the  day,  and  hope 
for  it,  when  the  policy  of  big  talk  will 
be  relegated  to  the  place  it  deserves ;  and 
we  shall  only  listen  to  the  people  who  can 
give  us  facts  about  what  they  have  done. 
When  that  day  comes  we  shall  find  we 
are  making  very  big  pictures  indeed. 
Names  that  are  unknown  now  will  be 
star  artistes  then,  and  the  amateurs  will 
be  where  they  deserve  to  be — at  the 
bottom  of  the  ladder,  with  plenty  of  climb¬ 
ing  to  do. 

We  must  have  a  standard,  and  we  shall 
get  it  when  once  we  have  made  up  our 
minds  as  a  body  that  it  has  got  to  come. 
Meanwhile  let  us  educate  public  opinion 
by  doing  our  best  to  appreciate  profes¬ 
sional  skill  in  every  branch,  wherever  we 
see  it. 


“The  Reverse  of  the  Medal.” 

A  New  “  Quality  ”  Two-Reeler. 


6 


February  io,  1923 


THE  MOTION  PICTURE  STUDIO 


Reconstructing  British  Production 

III. - The  Short  Way 


T)ALUA,  in  “  The  Immortal  Hours  ” 
speaks  of  “  the  short  ways  hea,vy  with 
unimagined  time.”  In  the  world'  of  film 
production  in  this  country  what  have  been 
taken  as  the  short  ways  have,  indeed, 
proved  to  be  heavy  with  unimagined 
lime. 

This  has  been  regarded,  and  is  still  so 
regarded  by  many  people,  as  one  of  the 
short  ways  out  of  the  obvious  difficulties  : 
to  make  pictures  on  the  basis  and  for  the 
needs  of  the  smali  home  market,  and  to 
spend  cnly  so  much  time  and  money  on 
them  as  ca1"1  he  recovered  here. 

They  haye  in  most  cases  found  this 
short  way  heavy  with  unimagined  time, 
if  the  time  be  regarded  as  that  in  which 
to-  construct  British  production  on  an 
established  basis. 

For  those  who  succeed,  the  long  ways 
will  be  brief,  for  they  will  lead  to  some¬ 
thing  permanent  which  the  short  ways 
will  never  reach. 

Of  late,  ideas  and  methods  have  shown 
a  tendency  to  expand,  but  the  expansion 
has  been  mainly  along  side  tracks.  We 
import  American  stars,  American  direc¬ 
tors,  ana  even,  occasionally,  American 
cameramen.  To  what  end?  That  we 
may  produce  pictures  which  will  be  ac¬ 
cepted  in  America. 

Yet  America  is  making  and  will  make 
more  pictures  than  she  wants  —  more 
American  pictures  than  she  wants.  If 
the  stars  and  directors  who  are  coming 
or  being  brought  here  could  be  absorbed 


by  FRANK  A.  TILLEY 

by  her  if  she  needed  their  work ;  if  she 
weie  not  herself  already  producing  too 
much,  these  people  would  not  come  to 
this  side 

Because  America  is  producing  more, 
American  films  than  she  can  absorb,  it 
seems  that  efforts  of  other  countries  to 
make  films  of  the  same  type  for  sale  to 
her  are  futile.  It  is  no  use  trving  to 
grow  cabbages  on  an  allotment  for  the 
purpose  of  selling  them  to  a  market 
gardener  who  is  growing  them  by  acres. 
The  sensible  thing  to  do  is  to  grow  some¬ 
thing  which  he  does  not  grow,  which  he 
cannot  grow,  but  which,  because  it  is 
unique  and  good,  he  will  be  glad  and 
ready  to  buy  and  market. 

But  to  grow  such  things  is  a  long  task. 
The  soil  needs  careful  preparation,  and 
the  rare  things  to  be  grown  need  atten¬ 
tion  maybe  day  and  night.  Yet  the  re¬ 
sults  are  worth  the  labour  and  the  care. 

So,  surely,  it  must  be  with  the  produc¬ 
tion  of  pictures  in  this  country  if  we  are 
to  take  a  real  place  in  the  world. 

I  do  not  say  that  commerce  in  this 
matter  should  be  subordinated  to  art- 
But  I  do  say  that  art  should  not  be  subor¬ 
dinated  to  commerce,  because  in  creative 
work  (and1  the  making  of  pictures  that 
matter  must  be  creative  work),  commerce 
is  short-sighted  and  narrow-minded.  It 
works- — at  least,  it  has  worked  in  this 
countrv  in  picture  production — almost  en¬ 
tirely  "for  the  immediate  present.  So  it 
has  built  nothing,  it  has  effected  nothing, 
it  has.  created  nothing  pave  that  the 


name  “  British  picture  has  come  to  be 
a  byword  and  a  jeer  throughout  the 
world. 

Oh,  many  people  will  shriek  in  protest 
at  that — will  denounce  it  as  unpatriotic; 
will  declare  that  they  have  seen  American 
pictures,  French  pictures,  German  pic¬ 
tures,  Italian  pictures,  which  have  been 
much  worse  than  British  pictures. 

So  have  I.  But  does  it  prove  anything? 
Only  that  their  bad  ones  are  worse  than 
our  standard — if  we  have  had  a  standard. 

The  real  point  is  that  from  these  coun¬ 
tries  have  come  many  pictures  which 
have  been  better  than  ours.  True  we 
have  an  occasional  one  which  is  worthy  to 
rank  with  these  others — but  one  does  not 
make  a  standard.  We  do-  not  keep  it  up, 
we  do  not  develop  along  anv  lines.  In 
one  phrase — though  it  is  reiteration — we 
have  no  standard. 

We  copy  this,  we  imitate  that,  or  else 
we  just  make  little  local  things  that  fall 
down  when  compared  with  the  routine 
films  of  other  countries. 

There  must  be  struck  a  line  of  our  own  ; 
ia  development  which  wijil  mean  that 
“British  production”  stands  for  some¬ 
thing  which  is  different  and  which  is 
worth  while  because  of  its  difference  and 
its  merit. 

It  is  a  long  way  to  that  point,  but  it  is 
brief,  because  it  leads  somewhere. 

The  short  way  treads  nothing  but  a 
circle  which  leads  always  to  the  same 
place  and  to  nowhere. 

And  the  inside  of  the  circle  is  empty. 


they  Are  Doing 

Bert  Darley  has  arrived  at  Nice. 


Where  They  Are — And  What 


B.  DAVIDSON  and  Arthur  Rooke 
are  location-hunting  in  the  South  of 
France. 


Walter  West’s  next  production  is 
scheduled  to-  begin  on  March  1. 


Lilian  Hall-Davies  is  working  for 
Samuelson. 


Rex  Davis  is  playing  lead  in  the  new 
sporting  picture  at  Isleworth  directed  by 
G.  B.  Samuelson. 


Cyril  Percival  and  Jack  Raymond  have 
been  playing  at  the  Beaconsfield  studios 
for  Guy  Newall. 


Ernest  A.  Douglas  has  been  playing 
Pope  Alexander  in  “  Lucrezia  Borgia’’ 
at  the  B.  and  C.  Walthamstow  studios. 


Eric  Lagg  has  been  appearing  in  “The 
Cardboard  Box,”  the  two-reel  Sherlock 
Holmes  episode  directed  by  George  Ridg- 
well  at  Cricklewood. 


Edith  Craig,  Percy  Standing,  Arthur 
f  ullen  and  Cyril  Smith  are  reinforcing  the 
already  strong  cast  of  “  Fires  of  Fate,” 
which  Tom  Terriss  is  directing  for 
Gaumont  in  Egypt. 


Jane  Grahame  is  playing  for  George 
Ridgwell  in  “  The  Speckled  Band  ” 
(Stoll). 


A  NEW 

KEARTON  FILM 

herry  Kearton,  whose  film  records 
of  wild  and  woolly  parts  of  the 
, globei  are  manumental,  is  now  editing-  a 
further  tremendous  edition  of  his  kine- 
matogfaphic  explorations,  which  extend 
on  this  trip  alone  over  50,0001  miles. 

Canada,  Africa  from  east  to  west, 
Borneo,  the  Indian  tiger  forests  and 
the  corners  of  the  Far  East,  are  all  in 
the  picture,  which  reveals  fascinating 
details  of  rare  animals  in  various  quar¬ 
ters  of  the  globe,  not  to  mention  some 
magnificent  scenery  and  studies  of  un¬ 
civilised  and  little-known  peoples..  The 
film  will  very  shortly  be  shown. 


Olaf  Hytten  is  playing  for  George 
Cooper  at  Catford. 

Douglas  Muoro  is  playing  Abdallah  in 
the  “  Fires  of  Fate  ”  for  Tom  Terriss 
(Gaumont). 


Clive  Brook  is  playing  in  the  new 
Quality  two-reeler  at  Catford,  directed  by 
George  Cooper. 

Guy  Newall  has  been  delayed  by  bad 
weather  on  location  in  Italy  on  “The 
Starlit  Garden.” 

Pino  Conti  has  been,  playing  for  Albert 
Bronett  in  “  Early  Birds,”  at  Ealing,  and 
this  week  is  impersonating  Charles 
Dickens  in  the  “  Oliver  Twist  ”  prologue 
at  the  Canterbury,  Westminster  Bridge 
Road. 


Ward  McAllister,  having  completed  his 
part'  for  George  Ridgwell  in  the  last  Sher¬ 
lock  Holmes  episode  at  Stoll’s,  opens  at 
Wyndham’s  Theatre  on  the  15th  in  Sir 
Gerald  du  Maurier’s  new  play,  “  The 
Dancers,”  in  which  he  plays  the  part  of 
Nat. 


7 


THE  MOTION  PICTURE  STUDIO  February  10,  1923 

Among  all  the  Stars  at  the  Cecil 

Brilliant  Constellation  and  Big  Crowd  at 
Second  Kinema  Club  Carnival 


[”  AST  Monday’s  colossal  Kinema  Club 
Carnival  at  the  Hotel  Cecil  must  be 
voted  a  huge  success  in  every  way.  Gaiety 
and  good-fellowship  was  unalloyed  from 
start  to  finish,  and  the  dance  floors  were 
a  spectacle  to  be  remembered.  Fancy 
dres.-.  seemed  the  rule,  and  the  swarming 
fox-trotters  were  a  moving  mosaic  of 
cheerful  colour.  Lighting  effects  were 
freelv  used  with  striking  results. 

Never,  we  believe,  has  such  a  thoroughly 
representative  muster  of  British  filmdom 
been  seen  at  one  time.  Practically  every 
star  of  note  in  the  screen  firmament  was 
to  be  recognised,  and  they  all  looked  too 
happy  to  lend  any  colour  to  the  absurd 
rumours  that  something  its  wrong  with 
British  production. 

Dancing  did  not  begin  until  ten,  and 
the  bulk  of  the  guests  did  not  arrive  much 
before  11.30.  At  midnight  a  judging  com¬ 
mittee  consisting  of  Gladys  Jennings, 
Valia,  Ralph  J.  Pugh,  Percy  Phillipison 
and  R.  E-  Bearing  awarded  prizes  for  the 
best  costumes.  The  thanks  of  the  Club 
cannot  be  adequately  expressed  to  the 
generous  donors  of  these  truly  handsome 
gifts. 

The  Prizewinners . 

Best  impersonation  of  Norma  Talmadg'e 
in  “Smilin’  Through”  (presented!  by  As¬ 
sociated  First  National),  Marjorie  Hume. 

Best  impersonation  of  Wyndham  Stand¬ 
ing  in  “Smilin’  Through  ”  (presented  by 
Associated  First  National),  Mr.  C.  Harri¬ 
son. 

Best  impersonation  of  Constance  Tal- 
madge  in  “  East  is  West  ”  (presented  by 
Associated  First  National),  Miss  O’Malley. 

Best  dressed'  lady — Madame  Karina. 

Best  dressed!  gentleman — Mr.  Pember¬ 
ton  (Robin  Hood). 


Best  impersonation  of  Betty  Compton 
in  “  The  Little  Minister  ”  (presented  by 
Gaumont),  Miss  Salas. 

Best  impersonation  of  Howard  Gave  in 
“The  Prince  of  Lovers’’  (presented  by 
Gaumont),  Eva  Llewellyn. 

Best  impersonation  of  David  Haw¬ 
thorne  in  “Rob  Roy”  (presented  by  Gau¬ 
mont),  Colin  Kent. 

Lady  Hepburn  distributed  the  prizes. 

Oth  er  Attractions  Too. 

A  beautifully-arranged  miniature  ballet 
was  executed  by  Dacia,  supported  by  a 
bevy  of  young  dancers  and  Sir  Simeon 
Stuart,  and  loudly  acclaimed. 

Flora  le  Breton,  with  Davico  Vincent, 
gave  a  delightful  exhibition  ball-room 
dance,  which  was  insistently  encored  by 
the  appreciative  rabble. 

Clarence  W.  Green’s  Commodore  Band, 
with  two  pianos,  provided  constant  and 
excellent  strains  in  vigorous  time,  and  in 
the  Victoria  Hall  the  Valray  Trio  also  en¬ 
livened  the  proceedings  with  still  more 
music.  The  faces  of  two  of  the  Valrays 
seemed  vaguely  familiar. 

The  supper  was  a  real  one — excellent 
and  well-served,  and  the  buffets  and  re¬ 
freshment  counters  were  also*  admirable, 
thus  solving  part  of  the  problem  of  the 
non-dancing  guests- 

Many  Welcome  Visitors 

It  was  most  agreeable  to  see  present  a 
large  number  of  renters  and  exhibitors, 
to  say  nothing  of  legitimate  stage  folk, 
and  many  were  the  glad  surprises  heard 
on  all  sides.  The  Press  were  also  present 
in  great  force. 

To  enumerate  the  guests  would  be  in¬ 
vidious,  but  we  cannot  forbear  mentioning 
a  few  names  that  stick  in  the  memory. 

Henry  Edwards,  Chrissie  White,  Clive 


Brook,  Dorothy  Fane,  Gladys  Jennings, 
Marjorie  Hume,  Constance  Worth, 
Yvonne  Thomas,  'Florence  Turner,  Victor 
McLaglen,  Henry  Victor,  Jeffrey  Ber¬ 
nard,  Graham  Cutts,  Maurice  Elvey,  lso- 
bel  Elsom,  Valia.  Herbert  Wilcox,  George 
Ridgwell,  Virginia  Blackton,  Walter  Ten¬ 
nyson,  Mercy  Hatton,  Sinclair  Hill,  Edith 
Bishop,  Alfred  Drayton,  Denison  Clift, 
Edwin  Godal,  Malvina  Longfellow,  F. 
Martin  Thornton,  A.  G.  Granger,  H.  J. 
Boam,  Lieut.-Col.  Bromhead,  Arthur 
Backner,  Olaf  Hytten,  Lawford  David¬ 
son,  Harold  Pontefract,  Ralph  J.  Pugh, 
Eileen  Dennes,  Col.  H-  A.  Browne,  Rex 
Davis,  Edith  Bishop,  Iris  Hoey,  Malcolm 
Tod,  Peggy  Hathaway  and  Cameron  Carr. 
Wanda  Hawley  and  Nigel  Barrie  arrived 
straight  from  Liverpool. 

Living  roulette  was  a  pleasing  diversion, 
and  the  bran-tub  was  likewise  popular. 

Unrehearsed  effects  included  a  realistic 
wrestling  and  disrobing  encounter  between 
Victor  McLaglen  and  Malcolm  Tod  in  the 
cloak-room,  and  the  heroic  salvage  of  the 
huge  mascot  from  larceny  by  Kate 
Gurney- 

The  ineffaceable  thanks  of  all  are  due 
to  Billie  Bristow,  W.  F-  Husband,  Harry 
Worth,  and  the  little  band  of  workers 
without  whom  the  huge  success  of  the 
night  would  not  have  eventuated.  Through 
their  efforts,  the  Carnival,  we  believe, 
has  been  an  even  bigger  success  than  last 
year ;  and  we  strongly  suspect  that  the 
1924  Carnival  is  already  being  planned  on 
a  still  larger  scale. 

The  photographs  numbered  1,  2,  4,  and 
5  are  by  Navana,  Oxford  ’Street,  that  of 
Flora  le  Breton  and  her  partner  by  Foul- 
sham  and  Banfield. 


Prizewinners  at  the  Carnival:  (1)  Madame  Karno  (best  dressed  lady).  (2)  Eva  Llewellyn  (Lord  Byron). 
(3)  Flora  le  Breton  and  her  dancing  partner.  (4)  Gladys  Jennings.  (5)  Marjorie  Hume  (Norma 

Talmadge  in  “Smilin’  Through” 


8 


February  io,  1923 


THE  MOTION  PICTURE  STUDIO 


“Early  Birds”  Without  the  Words 

Fred  Karno  Himself  Directed  by  Brouett  at  Ealing 


Barker’s  Ealing  studio  just  now 
comedy  holds  sway.  Albert 
Brouett  is  recording  for  the  first  time  on 
celluloid  the  famous  Fred  Karno  music- 
hall  sketches,  and  a  start  is  being  made 
with  one  of  the  best  known — “  Early 
Birds.” 

Shooting  “  Early  Birds  ”  without  re¬ 
gard  to  the  close  season  for  game  is,  it 
seems  to  me,  a  risk  well  worth  running. 

Goodness  only  knows 
why  this  wonderful 
comedy  series  has 
never  been  utilised 
before.  The  best 
parts  of  them  are 
pure  miming — an  art 
at  which  the  French 
excel  —  and  conse¬ 
quently  there  is  some¬ 
thing  appropriate  in 
two  acclimatised 
Frenchmen,  Albert 
Brouett  and  L.  G. 
_  Egrot,  officiating  as 

C  producer  and  camera¬ 

man  respectively  on 
these  subjects. 


The  Karno  Incubator 

When  one  comes  to'  think  of  it,  the 
Karno  sketches  have  served  to  introduce 
to  a  laughter-hungry  world  some  quite 
passable  comedians,  for  instance,  a  cer¬ 
tain  Mr.  C.  Chaplin  was  nurtured  into 
prominence  in  “  Mumming  Birds.”  and 
other  efforts  of  Fred  Karno,  and  since 
those  days  has  attained,  we  are  given  to 
understand,  quite  a  vogue  as  one  of  those 
funny  men  of  the  screen  over  in  America. 
Some  of  Chaplin’s  “  stunts,”  indeed,  are 
based  on  his  Karno  experiences,  and  the 


curious  position  now  arises  that  if  Albert 
Brouett  uses  too  many  original  Karno 
touches,  he  will  run  the  risk  of  being  ac¬ 
cused  of  borrowing  from  Chaplin  ! 

Besides  Chaplin,  there  have  sprung 
from  the  Karno  fold  such  monotony- 
killers  as  Harry  Weldon,  Ernest  Thesiger, 
Dan  Rolyat,  Stanley  Lupino,  Fred 
Kitchen,  and  Albert  Bruno. 

Hotel  Shortcomings 

When  I  arrived  at  the  studio  I  found 
most  of  the  floor  taken  up  with  an  hotel 
“  set,”  A  fair  number  of  guests  had  re¬ 
tired  for  the  night.  I  may  say  at  once 
that  I  found  much  to  criticise  in  the 
standard  of  comfort  meted  out  t0'  visitors. 

I  am  perfectlv  certain  that  comparatively 
few  of  the  regular  patrons  of  the  Ritz 
would  endure  such  shortcoming  in  accom¬ 
modation  without  protest.  No  doubt  1 
wyas  pampered  from  my  youth,  and  am 
fussy  constitutionally;  but  my  own  pre¬ 
ference  is  always  for  a  separate  bedroom 
— no'  doubt  an  insular  and  dainty  fad.  In 
any  case,  were  I  compelled  to  share  the 
room  with  nine  other  men,  I  should  se¬ 
lect,  if  possible,  a  less  mixed  assortment 
of  fellow  inmates.  I  didn’t  like  the  look 
of  any  of  them.  One  seemed  an  ex¬ 
pugilist  of  low  morals.  Another  looked 
like  a  cab-door  opener.  An  old  seedy  ex¬ 
actor,  a  grubby  newsboy,  and  an  unkempt 
greasy  Hebraic  gentleman  did  not  impress 
nie  too  favourably.  There  seemed, 
among  the  tenants  of  the  rows  of  beds, 
only  one  who  was  obviously  a  gentleman 
by  birth  and  breeding ;  and  as  he  ap¬ 
peared  to  have  been  dining  immoderately, 
and  displayed  some  eccentricity  of  char¬ 
acter  by  wearing  his  silk  hat  in  bed,  I 
felt  that  even  his  company  during  the 
night  would  be  neither  necessary  nor  en¬ 
thralling. 

No  Dulness 

There  is  this  to  be  said,  of  course  :  that 
at  fivepence  per  night  the  value  of  the  ac¬ 
commodation  was  not  disproportionate  to 
that  given  in  Northumberland  Avenue. 
The  fact  remains,  however,  that  the  com¬ 
pany  was  hardly  of  the  kind  that  I  can 
imagine  myself  “  putting  up  ”  with — in 
any  sense.  Moreover,  I  have  a  capricious 
but  firm  prejudice  against  bedding  which, 
apparently,  never  gets  into  the  hands  of 
a  laundry. 

The  redeeming  feature  of  the  establish¬ 
ment,  however,  is  its  freedom  from  hum¬ 
drum  monotony.  Twice  the  police  invaded 
the  dormitory  during  my  stay.  A  little 
disturbance  occurred  on  each  occasion. 

I  fear  also  that  more  than  one  lodger  was 
capable  of  robbing  his  neighbour — a  sad 
sidelight  on  our  vaunted  civilisation. 
Valuables  were  taken  from  under  their 
very  pillows  as  they  slept  by  a  villainous  i 


tramp  of  Semitic  appearance.  I  would 
have  felt  more  sympathy  with  the  victims 
if  the  tramp  had  nor.  been  Fred  Karno 
himself ;  and,  in  any  case,  it  is  an  elemen¬ 
tary  precaution  of  mine  in  visiting  hotels 
to  deposit  all  my  valuables  at  the  man¬ 
ager’s  office  on  arrival. 

Barber’s  Rash 

Mr.  Karno  told  me  it  was  his  screen 
debut,  and  that  he  was  most  interested  in 
the  results,  and  looked  forward  to  playing 
again  in  other  of  the  series.  His  part  in 
“  Early  Birds,”  though  small,  is  one  he 
himself  created  on  the  vaudeville  stage. 

The  cast  are 
making  scarifices 
in  the  cause  of  Art 
For  instance,  there 
is  J.  E.  Barber.  Bar¬ 
ber  is  actually  re¬ 
fraining  from  shav¬ 
ing  during  this 
picture  to>  get  the 
real  unshaven 
effect.  By  the  end 
of  the  shooting  he 
will  look  like  a 
happy  compromise 
between  Henry 
VIII.  and  a  naval 
gun  -  swab.  He 
plays  a  thoroughlv 
nasty  bully,  and  in 
view  of  that  fact,  I  understand  that  the 
expression,  “  Barber,  black  sheep,  have 
you  any  wool?  ”  annoys  him  beyond  mea¬ 
sure. 

Charles  Bell,  the  newsboy,  played  the 
part  in  the  original  sketch.  George 
Turner  as  a  weedy  lover,  Harry  Wright 
as  the  “  swell  refreshed,”  and  Pinto  Conti 
fill  the  other  chief  male  parts ;  and  Kath¬ 
leen  Kilfcyle,  B'ranzi  Carlos  and  Muriel 
Gregory  play  the  feminine  roles. 

Brouett  and  Egrot  are  making  rapid 
progress.  Walter  Tiffen,  formerly  of 
B.  and  C.  and  Progress  Films,  is  respon¬ 
sible  for  the  “  sets.” 


GBCfRaz 


/4LBER.T 

B  R_0  ^  E-TT 
directing 
h  is 

old  chief  ( 


9 


THE  MOTION  PICTURE  STUDIO 


February  io,  1923 


How  Many  People  May  Spoil 

A  Picture 

Every  Weak  Link  Fatal  to  the  Chain  of  Workers 


TT  is  gradually  beooming  generally 
recognised  that  a  good  picture  is  never 
the  unaided  work  of  one  man.  This  self- 
evident  truth  has  only  been  established 
comparatively  recently,  and  even  now  the 
credit  for  a  success  is  too  often  given  to 
one  person  without  apportionment.  The 
public  attribute  a  film’s  excellence,  as  a 
rule,  to  the  star.  “How  clever  she  is!” 
is  their  verdict  overheard  the  world  over 
in  kinema  vestibules  at  10.45  p.m.  The 
producer  accord's  the  credit  solely  to  him¬ 
self  in  many  cases,  and  as  he  often  has 
control  over  the  main  titles,  his  innate 
modesty  is  sometimes  known  to  express 
itself  thereby  in  beautiful  large  lettering, 
sometimes  followed  by  a  portrait  register¬ 
ing  fiatulent  gloom.  Renters  also  have 
an  amiable  habit  of  appropriating  to 
themselves  the  inspiration  and  execution 
of  a  picture,  judging  by  the  un contradicted 
•congratulations  with  which  they  are  sur¬ 
feited  at  Trade  dinners- 

h  n less  one  regards  exploitation  as 
strictly  a  part  of  the  manufacture  of  a 
film,  one  must  exclude  the  renter  from 
the  numerous  collaborators  to  the  finished 
result.  Ihe  actual  merit  of  any  picture 
is  due  to  the  organised,  controlled  and  co¬ 
operative  efforts  of  a  large  number  of  indi¬ 
viduals,  upon  every  one  of  whom  those 
responsible  for  it  as  a  commercial  and 
artistic  experiment  (and  every  picture  is 
good  only  so  far  as  it  is  an  experiment) 
must  rely.  No  one  person  has  yet  lived 
with  the  encyclopaedic  knowledge  and 
vast  experience  to  carry  out  efficiently 
every  one  of  the  essential  and  often  highly 
technical  ingredients  in  the  composition 


of  a  good  photoplay.  Until  such  a  being 
Is  born,  one  may  doubt  his  advent;  and 
in  the  interim  there  is  a  demand  for  pro¬ 
duction  of  high  quality. 

It  is  largely  because  reliance  must  be 
placed  on  so  many  varied  experts  that 
picture-making  will  always  be  speculative 
as  compared  with  play-producing  and 
novel-writing.  Organisation  is  the  vital 
key  to  the  co-ordination  which  makes  for 
efficiency,  and  cannot  be  too  strongly 
stressed.  But  organisation  itself  must  be 
in  the  hands  of  sympathetic  and  experi¬ 
enced  people,  or  routine  and  economy  are 
likely  to  be,  SO'  fair  from  the  saving  bles¬ 
sing  of  the  Industry,  an  additional  blight 
upon  it. 

Let  us  consider  the  chain  of  collabor¬ 
ators,  and  we  shall  soon  see  that  one  weak 
link  means  disaster  to  everyone. 

First  there  is  the  story— for  the  sake  of 
our  argument,  a  good  one.  It  may  be 
spoiled  in  adaptation. 

Secondly,  the  financial  controller  may 
have  a  fatally  parsimonious  disposition, 
with  the  result  that  production  is  scamped 
and  tawdry. 

Thirdly,  the  director  or  producer  may 
alter,  revolutionise  and  generally  make 
hay  of  the  script  as  he  goes  along.  He 
m(av  misdirect  actors,  misinterpret  the 
theme,  destroy  the  smoothness,  balance 
and  relation  of  the  shots,  and  order  the 
wrong  sets,  clothes,  furniture  and  make¬ 
up.  He  may  select  absurd  exteriors  and 
scorn  suggested  re-takes.  He  may  keep 
his  players  in  entire  ignorance  of  the 
story.  He  may  shoot  miles  of  extra  stuff 
which  has  to-  be  scrapped. 


Fourthly,  the  cameraman  may  be  incom¬ 
petent  on  photography,  lighting,  picture- 
values,  and  the  photographic  properties  of 
sets,  players  and  their  make-up. 

Fifthly,  the  casting  may  be  ill-judged, 
either  by  putting  bad  players  into  big  parts 
or  good  players  into  unsuitable  ones. 

Sixthly,  the  actors  themselves  may  be 
temperamental  in  the  sense  of  being  in¬ 
tractable,  obstinate,  reluctant  and  disin¬ 
terested. 

Seventhly,  the  laboratory  may  spoil  the 
finest  achievements  up  to  the  time  the  neg¬ 
ative  gets  into  the  dark  room ;  inexpert 
people  may  by  bad  printing  and  develop¬ 
ing  ruin  an  otherwise  perfect  length  of 
celluloid. 

Eighthly,  the  cutter  may  destroy  the 
sense,  flow  and  balance  of  the  story,  and 
lose  its  interest  thereby. 

Ninthly,  the  titling  may  be  crude,  illit¬ 
erate,  or  unnecessarily  copious  and  or¬ 
nate. 

Tenthly,  the  business  head  may  jockey 
everybody  into  such  a  frantic  rush  that 
good  work  is  impossible. 

Finally,  the  projection  of  the  picture  z t 
the  Trade  show  and  later  at  the  theatres, 
mav  be  so  atrocious  and  hurried  that  the 
combined  efforts  of  many  brilliant  people 
go  for  naught. 

Seldom  do  all  these  detrimental  factors 
operate — too  often,  however,  several  are 
noticeable  in  the  same  picture. 

Our  point  is,  however,  that  any  of  them 
is  sufficient  to  spoil  a  picture. 


WE  ARE  A  TRIFLE 
PUZZLED  WHEN— 

A  man  who  is  about  to  make  his  first 
attempt  at  production  is  described  as  “  this 
brilliant  young  director.  ” 

Pearl  White’s  example  of  retiring  to 
a  convent  is  not  emulated1  by  more  ap¬ 
propriate  candidates. 

Americans  fail  to  produce  good  pictures 
for  British  firms- 


Sidnev  Jav  finds  300  people  in  fifteen 
minutes. 


Henry  Edwards,  indifferent  to  the  aris¬ 
tocratic  amateurs  who  star  in  films,  an¬ 
nounces  a  picture  without  titles. 

Agents  quarrel  over  commissions. 

The  lay  Press  refer  to  utterly  unknown 
gentlemen  as  “  the  well-known  film  pro¬ 
ducer.” 


Film  directors  resort  to  bullying  to  get 
results  from  their  players. 


Those  authors  who  never  visit  the 
kinema  are  keenest  on  selling  their  screen 
rights. 


THE .  BARKER  STUDIOS, 

Ealing  Green,  W.5. 

These  well-known  Studios,  standing  in  3f 
acres  of  ground — 40  minutes  from  Charing 
Cross,  and  30  minutes  from  Oxford  Circus 

TO  LET 

together  or  separately — and  with  or  without 
Fully  Equipped  Film-Printing  Works, 
at  very  moderate  Rent.  Lighting  up 
to  1,000  amps. 

APPLY  TO  MANAGER  AS  ABOVE • 

OR  ’PHONE  EALING  211. 


10 


February  io,  1923 


THE  MOTION  PICTURE  STUDIO 


Screen  Values 

•ing  Up  the  Week’s  Product 


M  e  a  s  u 

“  T  he  Prodigal  Son ” 

and 

‘  The  Return  of  the  Prodigal 

Stoll— Story  by  Hall  Caine — Direction 
and  Scenario'  by  A.  E.  Coleby — Photo¬ 
graphed  by  D.  P.  Cooper — Art  Direction 
by  W.  W.  Murton — Leading  Players : 
Henry  Victor,  Stewart  Rome,  Edith 
Bishop.  Adeline  Hayden  Coffin,  Colette 
Brettell. 

“  The  Prodigal  Son  ”  is  unquestionably 
A.  E.  Coleby’s  finest  work  to'  date,  and 
is  a  revelation  even  to  those  who  are 
familiar  with  his  previous  notable  achieve¬ 
ments.  The  earnest  sincerity  of  the  direc¬ 
tion  is  most  marked,  as  is  also  his  careful 
and  restrained  control  of  the  players.  But 
the  picture  (or  pictures)  is  (or  are)  far 
.too  long  to  hold  the  attention  of  the  aver¬ 
age  spectator,  and  the  theme,  strong  as  it 
is,  would  lose  nothing  by  drastic  reduc- 
tibn  of  footage. 

A  tremendous  amount  of  material  taken 
in  this  picture  has,  we  are  given  to  under¬ 
stand,  already  been  eliminated-  This 
does  not  strike  us  as  a  convincing  reason 
why  it  cannot  stand  an  enormous  further 
curtailment.  In  the  interests  of  all  con¬ 
cerned,  it  is  highly  advisable.  It  contains 
much  that  is  beautiful,  sound  and  power¬ 
ful  ;  and  it  is  for  that  very  reason  and  no 
other  that  we  do  not  like  to  contemplate 
the  counteracting  danger  of  boredom 
which,  in  its  present  state,  can  hardly  be 
escaped. 

Sir  Hall  Caine  has  described  this  pic¬ 
ture  as  being  his  story  seen  through  a 
mirror,  and  in  fulsome  language  has 
dwelt  on  its  fidelity  to'  the  book.  We  are 
quite  prepared  to  endorse  this  testimony 
and  to  assert  that  every  foot  of  the  picture 
is  stamped1  with  the  author’s  personality 
and  style.  But  in  doing  so1,  are  we  really 
praising  the  film?  There  are  vast  num¬ 
bers  of  people  who  would  never  read  a 
Hall  Caine  novel  without  a  pecuniary  in¬ 
ducement  to  do  so. 

One  thing  is  quite  evident  in  the  cut¬ 
ting  (which,  by  the  way,  we  consider  to  be 
very  far  from  perfect).  Obviously,  a 
large  number  of  scenes  were  “  shot  ”  which 
wffien  the  time  for  trimming-down  came, 
the  director  (or  author)  could  not  bring 
himself  to  eliminate  entirely.  They  have 
consequently  been  retained,  but  cut  down 
in  many  instances  to  absurd  and  often 
bewildering  brevity.  This  is  a  common- 
fault  in  all  films  which  have  to  be  re¬ 
duced  drastically  in  length,  and  there  is 
no  doubt  that  such  scenes  are  much  better 
excised  entirely  than  retained  in  a  trun¬ 
cated  form  which  destroys  the  drama  they 
originally  possessed. 

For  example  :  several  scenes  occur  fairly 
earlv,  when  the  piano  is  played  and  songs 
sung.  The  trimming  has  the  ludicrous 
(effect  of  making  these  musical  efforts 
(which  are  hailed  as  exhibitions  of  divine 
genius)  appear  to  be  of  a  few  seconds 
duration  each — exactly  like  the  request  for 
“  a  little  music  ”  which  a  certain  music- 
hall  burlesque  magician  makes  to  the 
band — and  stops  them  after  one  bar  !  There 
are  several  love  scenes,  also  lost  in  their 
intensity  through  this  trimming-down. 


Another  cutting  fault  is  the  bad  match¬ 
ing  of  long  and  near  shots — especially  in 
the  first  half  of  the  picture.  Magnus  is 
several  times  seen  galloping  furiously  in 
a  long  shot  and  instantlv  stone  still  in  a 
near  one.  Then  the  spoken,  titles  in  the 
close-ups  are  badly  put  in.  There  is  no 
point  to-  appreciate  in  these  close-ups  ex¬ 
cept  the  facial  play,  which  is  interesting 
only  when  we  know  the  spoken  title.  In¬ 
stead  of  the  close-up  being  continued,  it 
repeatedly  flashes  off  to  a  long  shot  after 
the  title,  just  as  we  are  getting  really  in¬ 
terested  in  the  close-up. 

The  prologue,  with  the  four  chief 
characters  as  children,  strikes  us  as  pos¬ 
sessing  a  paramount  claim  for  complete 
elimination.  We  fall  to  see  how  it  does 
anything  but  delay  the  beginning  of  the 
real  story,  which  occurs  at  the  betrothal 
of  Magnus.  Many  detailed  scenes  of 
entering  and1  leaving  buildings  take  up 
footage  unnecessarily. 

At  least  fifty  sub-titles  could  be  entirely 
dispensed  with.  The  acting  is  very  ex¬ 
plicit,  and  such  titles  a,s  “My  boy!  My 
boy!  ”  “Good-night,  old  friends,”  “How 
kind  and  thoughtful  of  you  !”  “  Don’t,  for 
God’s  sake,  darling  !  ”  “  It  is  late,  mother, 
let  us  go  tO'  bed.”  “Yes,  isn’t  it  wonder¬ 
ful?”  “Can  you  give  me  some  writing- 
paper?”  and  many,  many  more  seem  to  us 
an  insult  to  the  histrionic  powers  of  the 
players,  who  in  every  case  of  this  kind 
get  the  whole  thing  over  so  unmistakably 
by  action  that  such  titles  are  insufferably 
tedious  and  dragging.  The  punctuation 
is  not  flawless,  and  far  too  many  end  in 
broken  sentences  followed  by  the  famous 
H.  G.  Wells’  three  dots — which  are 
simply  exasperating.  They  seem,  to  sug¬ 
gest  dreadful  pauses  or  stuttering  in 
speech,  and  hardly  ever  is  there  the 
slightest  dramatic  effect  in  the  succeeding 
title  to  warrant  the  “  to-  be  continued  iff 
our  next  ”  suspense.  The  Omar  Khay¬ 
yam  couplets  seem  rather  intrusive,  and 
almost  suggest  that  Sir  Hall  Caine 
couldn’t  do  better.  God  seems  also  rather 
too  frequently  mentioned. 

We  dwell  on  these  things  because  they 
are  'especially  provocative  in  a  long  pic¬ 
ture.  The  story  itself  we  think  could  be 

i™"""— """  | 

|  FRONT  PAGE  j 
|  VACANT  j 
|  NEXT  WEEK  j 
|  Price  £6  :  10  :  0  j 

I  (Block^making  extra). 


See  Jimmy  Sloan  about  it. 


cut  to  eight  reels  quite  comfortably;  but 
in  keeping  the  two  pictures  separate 
(neither  of  which,  by  the  way,  in  spite  of 
certain  claims,  is  intelligible  without  the 
other),  the  greatest  elimination  should  be 
made  in  the  first  one. 

The  story  we  need  not  criticise  at  length- 
— we  think  Magnus’  self-opprobrium  and 
self-banishment  very  quixotic  when  five 
minutes’  explanation  to'  the  parents  would 
have  settled  everything ;  and  we  think 
Oscar  an  estimable  husband  and  father, 
apart  from  his  forgery — but  that  is  by  the 
wav.  Coleby  has  done  wonders  with  it — 
every  ounce  of  its  strength  ils  there  and 
no  dramatic  moment  is  missed  ;  showing 
beyond  question  that  the  director  believes 
in  the  theme  whole-heartedly. 

His  settings  are  excellent.  The  Iceland 
scenes  and  dresses  certainly  strike  a 
national  note  which  convinces.  The  Nice 
and  Paris  scenes,  which  give  variety  to 
“The  Return  of  the  Prodigal,”  are  first- 
rate.  D.  P.  Cooper  is  to  be  congratu¬ 
lated  cn  the  excellent  photography,  which, 
despite  very  real  handicaps,  he  has  ob¬ 
tained.  The  interiors,  particularly  the 
kitchen  scenes,  are  often  magnificent,  and 
the  exteriors  are  so  good  at  times  that 
the  scene-trimming  is  additionally  regret¬ 
table. 

Henry  Victor  has  given  his  best  work 
so  far.  One  felt  real  sympathy  'for  Oscar 
throughout,  and  the  actor  succeeded  in 
redeeming  his  part  from'  heaviness  by 
sheer  personality.  Stewart  Rome  gave  a 
powerful  performance — sometimes  a  little 
too  powerful  considering  the  weakness  of 
the  obstinacy  of  Magnus,  The  director 
should  have  checked  his  slight  tendency  to 
over-act  a  little  more.  He  seemed  a 
trifle  too  uncouth,  and  his  staggers  of 
emotion  occasionally  suggested1  rheuma¬ 
tism  instead  ;  but  he  had!  very  real  strength, 
which  dominated  in  all  the  scenes  between 
the  brothers. 

Colette  Brettell,  although  lacking  the 
sure  touch  of  long  experience,  was  plea¬ 
sant  and  quiet,  and  in  her  final  bedroom 
scenes  reached  a  high  level  of  dramatic 
acting.  Edi'th  Bishop,  in  a  thankless 
part,  looked  thoroughly  natural,  and  her 
wearing  of  clothes  and  presence  generally 
was  entirely  in  keeping  with  the  mercen¬ 
ary,  heartless  butterfly.  Adeline  Hayden 
Coffin  gave  a  marvellous  portrayal  of  the 
mother.  Her  sheer  appeal  was  aU  the 
more  consummate  because  she  had  com¬ 
paratively  few  strong  scenes,  and  yet  her 
personality  sweetened1  every  foot  of  her 
depiction. 

Frank  Wilson  and  FI.  Nicholls  Bates 
contributed  two  sound  and  dignified  per¬ 
formances  as  the  fathers.  Louise  Conti 
was  pleasantly  unobtrusive.  Peter  Up- 
cher  seemed  none  too  happily  cast. 

SUMMARY. 

Direction  :  Excellent. 

S.TORY  :  Hall  Caine,  drawn  out  much 
too  much. 

Scenario  and  Continuity  :  Uneven 
owing  to  cutting. 

Acting  :  Splendid- 

Exteriors  :  Good  and  varied. 

Interiors  :  Very  fine. 

Photography  :  Excellent. 


THE  MOTION  PICTURE  STUDIO 


February  io,  1923 


SCREEN  VALUES 


“  Through  Fire  and  Water  ’ 

Ideal — Adapted  from  Victor  Bridge’s 
novel  "Greensea  Island  ” — Directed  by 
Thomas  Bentley.  Scenario  by  Eliot  Stan- 
nard — Photography  by  Horace  Wheddon — 
Leading  Players :  Flora  le  Breton,  Clive 
Brock,  Lawford  Davidson,  M.  A.  Weth- 
erell.  Teddy  Arundell,  Esrne  Hubbard, 
Jerrold  Robertshaw. 

Thomas  Bentley,  when  he  wants  to,  can 
produce  first-rate  mfelodrama.  We  did 
not  know  this  until  seeing  “Through  Fire 
and  Water.”  Every  ingredient  for  good, 
meaty  adventure  and  thumping  thrills  is 
here.  I  he  hero  is — brilliant  idea — a  naval 
lieutenant  !  The  villain  can’t  do-  any¬ 
thing  straight.  The  cartridges  are  re¬ 
moved  from  a  revolver,  which  won’t  lire 
at  the  useful  moment.  There  are  secret 
panels.  There  are  uncannily  devoted  ser¬ 
vants.  There  is  an  old  man  with  a  past 
and  a  young  man  with  a  presence,  'like 
hero  is  tied  and  gagged  and  the  house 
set  on  fire.  The  heroine  siwims  across  in 
a  bathing-suit  and  saves  him  in  time  for 

a  motor-boat  chase  and  running  fight  with 
revolvers. 

“  How  crude  and  Melvillian  !  ”  Nothin? 
of  the  kind.  Never  once  does  it  descend 
into  the  half-burlesque  of  “  Bulldog  Drum¬ 
mond  ”  (which  Bentley,  by-the-wav,  ought 
to  have  done).  It  is  carried  out  with  such 
artistry  and  balance  that  nothing  is  a 
"stunt,”  nothing  is  cliche ;  evervthing  is 
as  sane  and  sensible  as  flying.  There  is 
nothing  of  the  "serial”  vein"  It  is  such 
finished  _  “thick-ear”  stuff,  that  the 
altered  title  is  going  to  prejudice  it  in  the 
eyes  of  those  who  wouldn’t  read  Conan 
Doyle  in  a  Sexton  Blake  wrapper. 

The  story  is  connected,  well-knit,  and 


Kine  Cameraman’s  Society 

()N  Friday,  February  2,  the  annual 
_  general  meeting  of  the  K.C.S.  was 
held  in  the  Kinema  Club,  9,  Great  New¬ 
port  Street,  with  the  President,  H  enrv 
Saunders,  in  the  chair. 

The  Secretary,  Kenneth  Gordon,  read 
the  accounts  which  were,  after  a  brief  dis¬ 
cussion,  passed  on  the  motion  £f  J.  Rose- 
man. 

I  he  problem  of  subscription  arrears  was 
thrashed  out  at  length  without  prejudice, 
and  A.  Arch  finally  gave  notice  of  motion 
that  the  subscription  be  £1  is.  for  1923, 
and  that  members  in  arrear  cannot  re¬ 
main  members  until  they  have  paid  at 
least  25  per  cent,  of  such  'arrears. 

I  he  election  of  officers  for  the  year  was 
then  proceeded  with.  On  J.  Roseman’s 
proposition,  seconded  by  C.  Heath,  Ken¬ 
neth  Gordon  was  unanimously  re-elected 
secretary. 


full  of  subtlety,  as  well  as  “rough-stuff.” 
The  titling  is  wonderfully  good. 

Flora  le  Breton  and  Clive  Brook,  in 
quite  conventional  roles,  are  equallv  ex¬ 
cellent.  From  the  moment  thev  are  seen 
one,  knows  that  their  final  embrace  i's  a 
mere  matter  of  footage  ;  yet  they  are  really 
alive,  brimful  of  personality  and  youth, 
and  know  not  fear,  without  anv  reckless¬ 
ness.  Thev  look  extremely  nice  people, 
and  act  natural!}'  and  easily.  What  more 
does  anyone  want? 

Lawford  Davidson,  as  the  “panel”  doc¬ 
tor,  so  to  speak,  is  very  excellent  indeed — 
prying,  brutal,  unpleasantly  amorous, 
ruffianlv — a  polished,  nasty  man  with  a 
strong  individuality  which  in  this  picture 
seems  to  have  its  first  real  outlet. 

Jerrold  Robertshaw  is  capital  in  his 
lesser  part  and  his  facial  plav  is  effective. 
M.  A.  Wetherell  and  Esme  Hubbard 
make  a  pleasingly  sinister  couple.  The 
late  Teddv  Arundell,  in  hi's  last  part,  does 
good  and  characteristic  work  which  is 
verv  soundlv  proportioned  to  the  phases 
of  the  story. 

Horace  Wheddon ’s  photographv  is  ex¬ 
tremely  good1. 

SUMMARY. 

Direction  :  Most  excellent. 

Story  :  Conventional,  but  very  brisk. 

Scenario  and  Continuity  :  Splendid. 

Acting  :  Uniformly  capital. 

Exteriors  :  Very  fine. 

Interiors  :  Quite  good. 

Photography  :  Excellent- 

“  The  Harbour  Lights  ” 

Ideal — Adapted  and  modernised  from 
the  play  by  George  R.  Sims  and  Henry 
Pettitt,  by  Eliot  Scannard  and  'Pom  Ter- 
risis — Directed  by  Tom  Terriss — Photo¬ 
graphy  by  William  Shenton  —  Leading 


Annual  General  Meeting 

Kenneth  Gordon,  in  returning  thanks, 
mentioned  that  the  society  had  during  ’che 
year  been  instrumental  in  finding  lorty- 
six  jobs  for  cameramen,  lasting  for  periods 
varying  from  one  day  to  six  months. 

On  the  election  of  president,  it  was 
finally  decided  that  Henry  Saunders  should 
continue  in  office  for  the  present- 

George  Woods-Tavlor  was  elected 
treasurer,  and  the  vice-presidents  elected 
were  D.  P.  Cooper,  Al.  H.  Moise,  A.  G. 
Kingston  and  St.  A.  Brown.  A.  Arch 
was  elected  assistant  secretarv. 


D.  P.  Cooper  has  been  the  recipient  t  f 
many  congratulations  on  the  brilliant 
work  of  "  The  Prodigal  Son.”  The  handi¬ 
cap  of  weather  makes  the  photography  all 
the  more  meritorious. 


Leslie  Eveleigh  is  in  the  South  of  France 
with  Arthur  Rooke. 


Plavers  :  Tom  Mcere,  Isobel  Elsom,  An¬ 
nette  Benson,  Gibson  Gowland,  Mary 
Rorke,  Gerald  McCarthy,  Percy  Standing. 

“  The  Harbour  Lights  ”  is  disappoint¬ 
ing  ;  not  because  it  is  bad,  but  because  it 
might  be  so  much  better. 

Melodrama  is  a  sound  screen  proposi¬ 
tion,  and  the  Adelphi  “  classics  ”  are  ex¬ 
cellent  material.  But  in  adapting  them 
for  the  screen  one  expects  something  more 
than  the  stark  conventionality  of  the 
Surrey  Thefotire  tradition.  The  iscrejen 
has  bv  virtue  of  its  peculiar  technical 
possibilities,  the  power  to  develop  and  give- 
polish  to  the  crudest  "  penny-plain-and- 
twopence-coloured  ”  story  ever  written  ;; 
and  this  is  exemplified  even  by  the  Ameri¬ 
can  screen  versions  of  these  old  dramas,, 
which  have  been  adapted  brilliantly  by 
Tourneur  and  others  in  spite  of  their 
"  English  ”  mistakes. 

In  this  case  we  have  a  simple  but  ex¬ 
citing  drama  well  acted  by  a  capital  cast 
in  excellent  settings.  The  result  is  just  a 
good  fairly  sound  screen  melodrama- 
nothing  more.  'The  direction  is  far  from 
good.  The  photography  is  patchy  in 
places,  and  the  night  scenes  are  often  bad. 
The  action  has  been  crudely  handled,  and 
is  often  puzzling.  The  harbour  lights 
themselves,  for  instance,  play  no  part  in 
it  whatever. 

The  picture  is,  as  we  say,  quite  a  sound 
one,  and  we  feel  that  it  falls  shorr 
largely  because  one  expects  something  out¬ 
standing  from  an  imported  director  from 
America,  especially  with  a  star  like  Tom 
Moore  to  utilise  as  well.  Instead  of 
w’hich,  we  have  a,  very  ordinary  picture, 
unredeemed  by  the  least  subtlety  of  treat¬ 
ment.  The  sub-titles  are  singularly  un¬ 
inspired,  and  the  sequences  of  shots, 

‘ '  tucked-in  ”  like  the  battleship  long-shot, 
convey  nothing  of  real  value. 

The  players  are  so  good  that  one  feels 
their  efforts  are  not  well  exploited.  Tom 
Moore  is  a  really  great  personality  in 
every  picture  he  has  been  in — except  this 
one.  His  breeziness  is  there,  but  it  is 
never  shown  to  any  conspicuous  advan¬ 
tage.  It  is  a  striking  illustration  of 
the  extent  to  which  even  the  most  appeal¬ 
ing  screen  giants  are  dependent  on  their 
direction  for  complete  effectiveness.  Com¬ 
pare  Tom  Moore  in  this  picture  with  the 
way  he  "  gets  over  ”  in  recent  Goldwyn 
pictures,  for  instance. 

Isobel  Elsom,  who-  has  never  yet 
shaken  the  film  universe,  is  charming  and 
vivacious,  buc  seemed  insufficiently 
affected  by  the  disturbing  things  happen¬ 
ing  around  her  at  times.  Annette  Ben¬ 
son  was  full  of  life  and  fire — a  capital 
performance,  and  Mary  Rorke  put  in  good 
work  as  the  mother  of  Gibson  Gowland, 
who  also  acted  with  much  character  and 
intensitv.  Gerald  McCarthy’s  villain  was 
a  polished  performance  of  a  high  order, 
and  we  regretted  his  comparatively  early 
exit.  Percv  Standing’s  work  was  quietly 
sinister  and  sound.  Judd  Green  made  the 
very  most  of  his  chances  at  humorous  re¬ 
lief — -they  were  insufficient,  and  this  was  a 
pity,  as  he  was  a  most  attractive  figure. 
Smaller  parts  by  A.  iB.  Imeson,  Jeff 
Barlow,  Gordon  Begg  and  others  were 
well  rendered. 


Cameramen’s  Section 


12 


February  io,  1923 


THE  MOTION  PICTURE  STUDIO 


Measuring  Up  the  Week’s  Product 


The  exciting  cliff  and  sea  scenes  were 
well  done  but  indifferently  assembled. 

“  The  Harbour  Lights  ”  would  have 
been  regarded  as  a  great  picture  in  1916. 
We  wish  Thomas  Bentley  had  done  it. 

iSUMMARY. 

Direction  :  Indifferent. 

Story  :  Crude  and  patchy. 

Scenario  and  Continuity  :  Second- 
rate  and  uneven. 

Acting  :  Tom  Moore  largely  wasted, 
but  good — -others  also  good. 

Exteriors  :  Good. 

Interiors  :  Excellent. 

Photography  Excellent  in  the  main, 
but  with  lapses. 

“  The  Grass  Orphan  ” 

Ideal — Directed  by  Frank  H.  Crane — 
Scenario  adapted  from  I.  A.  R.  Wylie’s 
novel  “  The  Paupers  of  Portman  Square,” 
by  Elioc  Stannard  —  Photographed  by 
H  orace  Wheddon  —  Leading  Players  : 
Margaret  Bannerman,  Douglas  Munro, 
Reginald  Owen,  Peter  Dear. 

In  this,  by  far  the  best  of  the  three 
Ideal  offerings  shown  this  week,  Fiank 
Crane  'hips  -made  la  superlatively  good 
picture.  Scory,  adaptation,  casting,  direc¬ 
tion  pnd  camera-work  jail  combine  to 
make  a  charming  and  interesting  whole, 
and  the  treatment  of  every  foot  of  ic  bears 
witness  to  much  thought  and  judgment. 

Close  collaboration  between  scenarist 
and  director  is,  we  firmly  believe,  the 
chief  reason  for  the  highly  finished  re¬ 
sult.  There  is  a  smoothness  of  continuity 
which  is  inexplicable  on  any  other  basis, 
and  it  is  an  object-lesson  in  this  vital 
respect.  Paper,  and  not  celluloid,  has 
been  trimmed.  We  venture  to  assert  that 
the  scenario  of  “  The  Grass  Orphan  ” 
would  be  worth  reading  in  itself  as  it 
stands. 

Every  ounce  of  story  value  has  been  ob¬ 
tained,  and  the  cutting  does  not  leave 
an  unnecessary  foot.  The  matching  of  the 
various  distance  shots  with  near  ones  is 
admirable.  The  emotional  side  of  the 
story  is  beautifully  balanced  with  the  re¬ 
lief,  which  is  presented  with  a  touch  that 
is  as  light  as  it  is  defc. 

The  theme  is  nothing  outrageously 
novel,  but  the  innate  humanity  of  the 
novelist’s  characters  has  been  more  than 
preserved — it  has  been  added  to.  Sound 
handling  of  a  well-chosen  cast  makes  every' 
part  a  convincing  one. 

Margaret  Bannerman  is  better  suited 
than  she  has  ever  been,  and  her  work 
shows  enormous  improvement,  probablv 
on  'that  account  mainly.  She  is  natural, 
restrained  and  alive.  Reginald  Owen 
plays  very  soundly  the  role  of  the  decent 
husband  spoilt  by  money,  and  both  he  and 
Margaret  Bannerman  miss  none  of  the 
Na:qting  possibilities.  Oluir  respect  flor 
Crane  increases  on  noting  the  way  in 
which  he  has  .handled  Douglas  Munro. 
We  should  never  have  credited  such  a 
performance  from  this  actor  had  we  not 
seen  it  ourselves.  As  the  benevolent  and 
grotesque  Lncle  Jeremy,  his  performance 
makes  all  his  previous  efforts  seem  bald 
and  futile,  and  with  all  respect  to  Munro, 


we  regard  this  as  a  director’s  triumph  to 
a  great  degree. 

Peter  Dear  makes  a  charming  little  son. 
free  from  the  stilted  precocicy  of  the  avei- 
age  screen  child.  Ann  Trevor  contributes 
an  agreeable  sketch  of  the  warm-hearted 
housemaid  Tilda.  Gertrude  Sterroll  in¬ 
vests  a  small  part  with  dignity  and  sweet¬ 
ness.  Joyce  Gaymon  has  few  opportuni¬ 
ties,  but  gets  over  unobstrusively.  Law- 
ford  Davidson  does  good  work  in  a  minor 
role,  and  the  little  parts  are  without  ex¬ 
ception  well  done. 

The  settings  and  exteriors  are  well 
chosen  and  arranged  with  commendabh- 
variety.  Photography  is.  very  fine  through¬ 
out,  and  the  groupings  and  scene  angles 
are  perfect. 

From  a  purely  technical  standpoint  of 
finish,  “  The  Grass  Orphan  ”  is  the  best 
British  picture  submitted  for  many 
months,  and  is  a  piece  of  first-rate  crafts¬ 
manship  which  is  a  credit  to  the  industry, 
not  only  in  England,  but  anywhere. 
SUMMARY. 

Direction  :  'Superb. 

Story  :  Sound  and  convincing. 

Scenario  and  Continuity  :  Smooth  and 
brilliant  in  the  extreme. 

Acting  :  Excellent. 

Exteriors  :  Good. 

Interiors  :  Excellent. 

Photography  •  Splendid. 

“  Wonder  Women  of  the 
World  ” 

B.  pnd  C. — Twc^reel  historical  sub¬ 
jects — Directed  by  Edwin  Greenwood — 
Scenarios  by  Eliot  Stannard  —  Photo¬ 
graphed  by  A.  G.  Kingston  —  Leading 
Players  :  Charles  Barratt,  Marjorie 
Hume,  Nina  Vanna,  Russell  Thorndike, 
Janet  Alexander.  Controlled  by  the  Re¬ 
gent  Film  Co.,  Ltd. 

The  three  two-real  subjects  Vff  this 
series  shown  on  Thursday,  are  something 
definitely  new  in  the  British  production 
field.  Here  are  glimpses  of  real  history 
interestingly,  convincingly  and  authenti¬ 
cally  recorded.  The  atmosphere  of  the 
periods  ring  true.  Much  research  has 
obviously  been  made  and  the  close  asso¬ 
ciation  of  script-writer  and  director  is 
again  vindicated  in  this  series. 

Dramatic  licence  has  been  sparingly 
used- — in  fact  a  little  more  would  not 
have  hurt  the  action  ;  but  the  subjects  no 
doubt  gain  in  impressive  authenticity  by 
such  restraint. 


fJWIE  usual  Saturday  dance  last  week 
was  well  attended,  despite  the  im¬ 
minence  of  the  Carnival.  The  Club  band 
was  unexpectedly  reinforced  by  Alvin 
Keech  and  Tony  Holies.  At  one  time  it 
seemed  that  J.  H.  Maitt  at  the  drums 
must  be  forced  off  the  platform — or 
through  it.  We  learn  that  the  drumsticks 
were  missing  early  in  the  evening,  and 
that  the  only  available  substitutes  were 
a  copying-ink  pencil  and  a  piece  of  raw 
macaroni.  Luckily,  the  sticks  were  found 
by  Cyril  Percival  just  in  time. 

To-night,  Malcolm  Tod  returns  to  the 
drums,  but  a  good  attendance  is  neverthe¬ 
less  expected. 


Praise  must  be  accorded  to  'the  care 
exercised  in  casting.  There  is  hardly  a 
figure  out  of  place  chronologically,  and 
the  make-up  and  dresses  throughout  seem 
wholly  natural — a  pleasant  contrast  to  the 
“  fancy-dress  ”  effect  too  often  seen  in 
period  screen  settings.  There  are  practi¬ 
cally  no  exteriors,  buc  the  furniture  and 
trappings  of  the  interiors  are  exceedingly 
good  and  never  obtrusively  quaint. 

“  Henrietta  Maria,  or  the  Queen  of 
Sorrow,”  has  a  gripping  theme  with  Rus¬ 
sell  Thorndike  as  a  very  fine  Charles  I., 
Janet  Alexander  as  the  Queen,  and 
Forbes  Dawson,  M.  Gray  Murray,  Cyril 
Dane,  Lionel  d’Aragon,  H.  Trumper 
and  Norman  Clark  all  giving  sound  per¬ 
formances.  A  slight  tendency  to  drag  at 
the  end  is  our  only  criticism. 

“  Simonne  Evrard  ”  is  a  vehicle  for 
two  capital  performances  from  Charles 
Barratt  and  Marjorie  Hume  as  Marat  and 
Simonne.  A  good  cast  in  support  includes 
Margaret  Yarde,  Dacia,  and  Forber  Daw¬ 
son.  The  French  Revolution  atmosphere 
is  subtlecy  convincing.  We  can  think  of 
no  deadlier  criticism  than  a  split  infini¬ 
tive  in  'one  of  the  sub-titles.  “  Ladv 
Jane  Grey  ”  is  perhaps  the  most  absorb¬ 
ing'  N  of  the  rchree.  Story,  acting  and 
treatment  are  alike  irreproachable.  A 
most  striking  piece  of  sympathetic  char¬ 
acter  work  was  contributed  by  Nina 
Vanna  in  the  title-role — a  perfect  piece  of 
casting,  incidentally— and  much  strength 
in  the  other  parts  served  to  excite  real 
commiseration  for  the  luckless  young 
girl. 

Charles  Vane  was  very  sound,  and 
Charles  Barratt,  John  Reid  and  others 
were  well  handled.  Miss  Carnegie’s 
Mary  was  imbued  with  a  strong  sense  of 
the  character,  and  Forbes  Dawson’s  best 
work  was  in  the  weakling,  Edward  VI. 

These  subjects  are  a  complete  answer 
to1  the  highbrow  film-hater.  Thought¬ 
fully  and  well  produced,  with  an  appeal 
much  wider  than  history  in  jjrint  can 
have,  they  should  do  much  to  raise  the 
tone  of  many  a  kinema  entertainment. 
The  photography  is  first-rate. 

SUMMARY. 

Direction  :  Very  good. 

Stories  and  Continuity  ;  Smooth  and 
interesting. 

Acting  :  Extremely  good. 

Interiors  :  Most  carefully  done. 

Photography  :  Excellent. 


Great  scenes  took  place  in  the  Club 
after  the  Carnival  on  Monday.  The  pre¬ 
mises  were  open  all  night,  and  breakfasts 
were  served  from  4  a. nr.  The  dining- 
lounge  was  packed  with  gay  revellers  in 
fancy-dress  until  early  Tubes  began  to  run. 
Several  Pressmen  were  observed  listening 
to  the  unguarded  conversation  of  film 
notabilities  over  eggs  and  bacon.  The 
presence  of  Victor  McLaglen  in  impressive 
boxing  garb  materially  helped  to  preserve 
perfect  decorum. 

The  catering  continues  to  improve  at 
the  Club,  and  lunch-tables  are  now 
thronged  daily. 


Kinema  Club  News 


13 


THE  MOTION  PICTURE  STUDIO 

February  io,  1923 

NEARLY  READY  NEARLY  READY 

THE  Reference  Book 
of  the  Kinematograph 
Industry  :  :  :  You 

cannot  do  without  it 


.  .  THE  .  . 


KINE  YEAR  BOOK 


FOR  1923 


ORDER 

NOW 


Post  Free : 
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London,  W.C-2. 


14 


February  io,  1923 


THE  MOTION  PICTURE  STUDIO 


<2® 


Adelqui  Millar  Productions. —  1,  Lein¬ 
ster  Square,  W.2.  Park  1258. 

Albert-Phillips  Film  Productions. — 

Stoll  Studios,  Cricklewood. 
Willesden  5295-4. 

Film:  “  An  Agitated  Agitator.” 
Director  :  Edward  D.  Roberts. 
Scenarists  :  Muriel  Alleyne  and 
Christabel  Lowndes -Yates. 

Star  :  Fatty  Phillips. 

Cameraman  :  Joe  Rosenthal,  Jnr. 
Type  :  Two-reel  comedy. 

Stage  :  Second  week. 


Complete  List  of  all  the  British  Studios,  together 
with  Addresses,  Telephone  Numbers,  Full  Par¬ 
ticulars  of  Current  Productions  and  Routes  for 
::  ::  ::  ::  Reaching  the  Studios  ::  ::  ::  - 


^ 


3 


Next  Production  :  “  Bonnie  Prinee 
Charlie.” 

Glen  Film  Productions. — 20,  Lisle 
Street,  W.C. 

Studio  :  “  Belgrave,”  Marine  Ter¬ 
race,  Aberystwyth. 

Not  working. 

“  Gems  of  Art  ”  Film  Co.,  Ltd. — 

1,  Bear  Street,  W.C. 

Films  :  “  Gems  of  Art.” 

Director  :  Norman  Macdonald. 
Cameraman  :  E.  Groc. 

Stage  :  Fifth  week. 


Film  :  “  Scraps  and  Scrapes.” 

Director  :  Edward  IL  Roberts. 

Scenarists  :  F.  Rupert  and  Frank 
C.  Crew. 

Cameraman  :  Joe  Rosenthal,  Jnr. 

Type  :  Two-reel  comedy. 

Star  :  Flora  le  Breton. 

Stage  :  Starting. 

Alliance  Film  Co. — St.  Margaret’s, 
Twickenham.  Richmond  1945. 

Route  :  ’Bus  55a,  57.  Trains  from 
Waterloo  to  St.  Margaret’s  every 
10  minutes. 

Artistic  Films,  Ltd. — 95-95,  Wardour 
Street,  W.l.  Gerrard  5210. 

Film  :  “  The  Monkey’s  Paw.” 

Director  :  Manning  Haynes. 

Scenarist  :  Lydia  Hayward. 

Stars  :  Moore  Marriott  and  Mary 
Ault. 

Cameraman  :  Frank  Grainger. 

Stage  :  Completed. 

As  tor  Productions. — 40,  Shaftesbury 
Avenue,  London,  W.  Gerrard  8456. 

Director  :  Peter  Astor. 

Atlas  Biocraft. — 58,  Haymarket,  Lon¬ 
don,  S.W.l. 

Film:  “  The  Man  Without  Desire.” 

Director  :  Adrian  Brunei 

Stars  :  Ivor  Novello  and  Nina  Yanna 

Cameraman  :  Harry  Harris. 

Scenarist  :  Frank  Fowell. 

Stage  :  Cutting  and  Assembling. 

Bert  Wynne  Productions. — C/o  Frank 
Zeitlin,  32,  Shaftesbury  Avenue, 
W.l. 

Film  :  “  God’s  Prodigal.” 

Director  :  Bert  Wynne. 

Stage  :  Scheduled. 

Brouett  Productions.  — •  Barker’s 
Studios,  Ealing  Green,  W.  5. 
’Phone  :  Ealing  211  and  1582. 

Route  :  District  or  C.L.R.  Tube  to 
Ealing  Broadway.  Piccadilly  Tube, 
change  at  Hammersmith.  ’Bus 
Route  No.  17. 

Films  :  Fred  Kamo  Comedies. 

Director  :  Albert  Brouett. 

Scenarist  :  P.  L.  Mannock. 

Cameraman  :  L.  G.  Egrot. 

Studio  Manager  :  H.  C.  Wans- 
borough. 

Stage  :  Third  week. 


British  and  Oriental. — B.P.  Studios, 
Thornton  House,  Thornton  Road, 
Clapham  Park.  Streatham  2652. 
British  Photoplays. — Devon  Cham¬ 
bers,  28,  Fleet  Street,  Torquay. 
Not  Working. 

British  Productions. — Selborne  Road, 
Hove. 

Film  :  Title  undecided. 

Director  :  Lieut.  Daring. 

Star  :  Lieut.  Daring. 

Cameraman  :  Bert  Ford. 

Stage  :  Assembling 
British  Super  Films. — Worton  Hall, 
Isleworth.  Hounslow  212. 

Route  :  ’Bus  37.  Also  tram  from 
Shepherd’s  Bush  Station  (Central 
London  and  Met.). 

From  Waterloo  to  Isleworth  : 
A.m.,  7.51,  8.13,  8.21,  8.43,  8.51, 
9.21,  9.51.  Then  same  minutes 

past  each  hour  until  11.51  p.m. 
Extra  trains  :  4.43,  5.13,  5.43, 
6.13,  6.43,  7.13. 

Isleworth  to  Waterloo  :  8.33, 

8.44,  9.3,  9.13,  9.33,  9.44,  10.14, 

10.44.  Same  minutes  past  every 

hour  until  10.44,  11.14  p.m. 

Extra  trains  :  5.30,  6.0,  6.30. 

Daisy  Productions. 

Film  :  “  When  a  Prince  Woos.” 
Stage  :  Starting  shortly. 

Davidson.- — Lea  Bridge  Road,  E.10 
Walthamstow  634. 

Route  :  ’Bus  Nos.  35  and  38.  Trams 
81  55,57. 


Film  :  “  Le  Seaudale.” 

Director  :  Arthur  Rooke. 

Stars  :  Hilda  Bayley  and  Henry 
Victor. 

Cameraman  :  Leslie  Evelcigh. 
Stage  :  Starting. 

Dewhurst  Productions. 

Film  :  “  What  the  Butler  Saw.” 
Director  :  George  Dewhurst. 

Star  :  Madge  Stuart. 

Cameraman  :  G.  Pauli. 

Stage  :  Cutting  and  assembling. 


Film  :  “  The  Uninvited  Guest.” 

Director  :  George  Dewhurst. 

Star  :  Stewart  Rome. 

Cameraman  :  G.  Pauli. 

Stage  :  Cutting  and  assembling. 

F.  P.-Lasky. — Poole  Street,  Isling¬ 
ton.  Dalston  2770. 

Route  :  ’Bus  38a,  to  New  North 
Road,  and  then  tram  No.  11. 

Gaumont.— Lime  Grove,  Shepherd’s 
Bush,  W.12.  Hammersmith  2090- 
1-2. 

Route  :  ’Bus  Nos.  12,  17.  and  train 
from  Shepherd’s  Bush  Station. 

Ftlm  :  “  Fires  of  Fate.” 

Director  :  Tom  Terriss. 

Stars  :  Wanda  Hawley,  Nigel  Barrie 
and  Stewart  Rome. 

cameramen  :  St.  Aubyn  Brown  and 
H.  W.  Bishon. 

Scenarist  :  Alicia  Ramsay. 

Stage  :  Casting.  r"' 


WE  CAN  DELIVER  FROM  STOCK 

The  Columbia  12  in.  by  £  in-  Silver-tipped 
Carbons  for  Wohl  and  other  Studio  Lamps. 

Recommended  by  Wohl  s  as  the  only  suitable  Carbon 
for  their  Lamps. 

UNITED  KINGDOM  PHOTOPLAYS,  Ltd 

29a,  CHARING  CROSS  ROAD,  W.C.  2. 

’Phone  :  Gerrard  8742. 


George  Clark  Pictures,  Ltd. —  47,  Ber¬ 
ners  Street,  W.l.  Museum  3012. 
Film  :  “  The  Starlit  Garden.” 
Director  :  Guy  Newall. 

Stars  :  Ivy  Duke  and  Guy  Newall. 
Cameraman  :  H.  A.  Rendail. 
Scenarist  :  Guy  Newall. 

Stage  :  Ninth  week. 

Graham  Wilcox  Productions. — 174, 
Wardour  Street,  London,  W.  1. 
’Phone  :  Regent  55  6-7. 

Next  Film  :  “  Chu  Chin  Chow.” 
Director  :  Herbert  Wilcox. 
Cameraman  :  Rene  Guissart. 

Stage  :  Starting  shortly. 
Granger-Binger. — 191,  Wardour  St., 
W.l.  Gerrard  1081,  1728. 

Studios  :  Haarlem,  Holland. 


Film  :  “  The  Lion’s  Mouse.” 

Stage  :  Completed. 

Granville  Produc  tions.— 61,  Berners- 
Street,  W.l.  Museum  252  8. 

Film  :  “  Hennessey  of  Moresby.” 
Director  :  Fred  Le  Roy  Granville. 
Stage  :  Starting  shortly. 

Hardy. — 13,  Gerrard  Street,  W.l, 
Gerrard  2284. 

Harma  Clarendon. — 16,  Limes  Road, 
Croydon.  Croydon  921  and  2084. 
Hepworth  Picture  Plays. — Walton- 
on-Thames.  Walton  16. 

Route  :  From  Waterloo  :  A.m., 
7.0,  8.0,  9.20,  10.20,  11.20  ;  p.m.. 
12.20,  1.20,  2.20,  3.20,  4.20,  4,54, 
5.15,  5.20,  5.44,  5.54,  6.15,  6.20, 
7.0,  7.20,  8.20,  8.55,  9,20,  10.20 
11.34. 

From  Walton  ;  A.m.,  7.59,  8.29, 
8.41,  8.56,  9.9,  9.46,  10.10,  11.10  ; 
p.m.,  12.10,  1.10,  2.10,  3.10,  4.11, 

5.10,  5.44,  6.10,  7.10,  8.10,  9.10, 

10.10,  10.35.  11.34. 

N.B. — There  is  a  frequent  train 
service  to  and  from  Shepperton  from 
Waterloo.  The  station  is  as  near  as 
Walton  to  the  studio. 


Film  :  “  Pipes  of  Pan.” 

Star  :  Alma  Taylor. 

Scenarist  :  George  Dewhurst. 
Director  :  Cecil  M.  Hepworth. 
Stage  ;  Completed. 


B.  &  C.  Productions. — Hoe  Street, 
Walthamstow.  Walthamstow  364 
and  712. 

Route  :  ’Bus  38.  Tram  81  to 
Bakers’  Arms.  Trains  from  Liver¬ 
pool  Street  to  Hoe  Street  every 
few  minutes. 


Film  :  “  Gems  of  Literature.” 

Director  :  Edwin  J.  Collins. 

Type  :  Two-reel  dramas. 

Cameraman  :  A.  G.  Kingston. 

Scenarist  :  Eliot  Stannard. 

Stage  :  One  a  fortnight. 

Beehive  Productions. — 

Director  :  Bert  Haldane 

Assistant  Director  :  Horace  Cor- 
byn. 

Scenarist  :  Jack  Denton. 

Stars  :  Jimmy  Reardon  and  Mar¬ 
garet  Hope. 

Stage  :  Scheduled. 

British  Famous  Films.  —  “  Wood¬ 
lands,”  High  Road,  Whetstone. 
Finchley  1297. 

Studio  Vacant. 

British  Masterpiece  Films. — 199, 
Piccadilly,  W.  1.  Gerrard  4040. 


Film  :  “  Lily  of  the  Alley.” 

Stars  ;  Henry  Edwards  and  Chrissiq 
White. 

Director  :  Henry  Edwards. 

Stage  :  Completed. 


Film  :  “  Mist  in  the  Valley.” 

Star  :  Alma  Taylor. 

Director  :  Cecil  M.  Hepworth. 
Stage  :  Completed. 

Ideal. — Boreham  Woods,  Elstree, 
Herts.  Elstree  52. 

Route  :  Trains  from  St.  Pancras  : 
A.m.,  7.30,  8.0,  8.50,  9.55,  10.45, 
11.48;  p.m.,  12.33,  1.13,  2.35; 

3.55,  4.45,  5.12,  6.2,  6.45,  6.50, 
7.20,  8.8,  9.18,  10.35,  11.35. 

From  Elstree  to  St.  Pancras  : 
9.48,  10.39,  11.25,  12.31,  1.8,  2.15, 
3.3,  3.56,  4.56,  5.29,  6.18,  6.55, 
7.36,  8.54,  10.14,  11.3. 

Studio  Manager  :  F.  A.  Kendrick* 
Art  Director  :  J.  T.  Garside. 


Film  ;  “  This  Freedom.” 
Director  :  Denison  Clift. 
Star  :  Fay  Compton. 
Scenarist  :  Denison  Clift. 
Stage  :  Completed. 


AGENCE  DEBRIE,  LONDON. 

Kinematograph  Studio  &  Factory  Apparatus. 


'Phone : 


DEBRIE 


99 


Museum 

3607. 


REPAIRS.  RENOVATIONS.  OVERHAULS. 
SECONDHAND  OUTFITS  in  Guaranteed  GOOD  ORDER. 

23,  Mortimer  Street,  London,  W.  i 


ReceNiKM  Quality  &  Service  wardotrst 

100%  FILM  100% 

amfcolo.loKdmi  Devebpers& Printers  LOGROH 


15 


February  io,  1923 


THE  MOTION  PICTURE  STUDIO 


Several  Directors  have  explained  to  us  the  difficulty 
they  have  of  Setting  quickly  into  touch  with  artistes 
and  others  whom  they  need  for  their  productions  and 
have  suggested  that  we  publish  addresses  and  telephone 
numbers  of  such. 


ASHTON,  CHARLES.  Crantock,  Hainault 
Road,  Leytonstone,  E.,  or  Kinema  Club 

ATWOOD,  ALBAN:  25,  Stanley  Crescent, 
W.  11.  Park  2892. 

BEGG,  A.  GORDON  :  197A,  LatchmereRoad, 
S.W.ii.  Battersea  21. 

BROOK,  CLIVE  :  12,  Abercorn  Place,  N.W. 
Hampstead  3(J83. 

BROOKE,  EVA  :  7,  Treborough  House, 

Gt.  Woodstock  Rd.,W.i.  Mayfair  87. 

BROOKS,  JOSE,  9,  Lodge  Road,  St.  John’s 
Wood,  N.W. 8.  Paddington  6457. 

CANNING,  THOMAS:  24,  Gt.  Quebec  St., 
Bryanston  Square,  W.i.  Mayfair  2344. 

CAREW,  JAMES,  15,  Burleigh  Mansion, 
Charing  Cross  Road,  W.C. 2.  Gerrard  3904 

CHESNEY,  ELIZABETH  :  c/o  Miss  Mcrris, 
25,  Clevedon  Gardens,  W.2.  (Flat  4). 
Padd.  5844. 

DARLEY,  BERT,  Kinema  Club,  9,  Great 
Newport  Street.  Regent  630. 

DOUGLAS  ,  ERNEST  A.  :  12,  Sunnyside 
Road,  Ealing,  W.5. 

FOLKER,  S.  N.  :  103,  Fowlers  Walk, 

Ealing,  W.5. 

FORD,  BERT  :  19,  Wyke  Gardens,  Stock- 
well,  London,  S.W.9. 

HARRIS,  GEORGE,  33,  Torrington  Square, 
W.C.l. 

HATTON,  MERCY,  55,  Rutland  Park 
Mansions,  Cricklewood,  N.W.  2.  ’Phone  : 
Wilesden  1409 

HOWARD,  LIONELLE  :  108,  Alderbrook 
Road  Balham,  S.W.12. 

HUNTER.  ALEX.  G.,  222,  Camberwell 
New  Road,  S.E. 

JONES,  T.  ARTHUR:  “High  Tor,” 
Summer  Road,  Hampton  Court. 

LE  BRETON,  FLORA  :  34  Nevern  Square, 
S.W.5.  Western  1936 


LLEWELLYN,  EVA  :  39,  Gloucester  Gdns. 
W.  2.  Paddington  494. 

LUGG,  WILLIAM  :  12,  Heathfield  Gdns., 
Chiswick,  W.  4. 

MONCRIEFF.  ADRIENNE,  12,  Russell 
Chambers,  Bury  St,,  W.C.  Museum  7977. 

O’NEILL,  EDWARD,  13,  The  Avenue,  St. 
Margaret’s  on-Thames. 

PAIGE,  ROBSON  :  159,  Franciscan  Road, 
Tooting,  S.W.  Streatham  264. 

PAXTON,  SYDNEY:  28,  Bedford  Place, 
Russell  Square,  W.C.  Museum,  7235. 

RAYNER,  MINNIE  :  Kingwater  Cottage, 
Church  Walk,  Thames  Ditton. 

RAYNOR,  ALBERT  E.,  “  Strathmore,” 
Spencer  Road,  Chiswick,  W.4. 

ROME,  STEWART  :  io,  Chisholme  Road, 
Richmond.  Surrey. 

SHEE,  FLORENCE:  221,  Elgin  Avenue, 
W.9.  Messages  Paddington  6036. 

SMALL,  KNIGHTON,  59,  Gloucester  Cres^ 
cent,  Regent’s  Park.  Hamp.  889. 

STANBOROUGH,  E.  CYRIL  :  15,  Grove 

Mansions,  North  Side,  Clapham  Com¬ 
mon  12  Latchmere  4343. 

STEERMAN  A.  HARDING  :  56  Portland 
Road,  W.i  1.  Park  2529. 

TEMPLETON,  BEATRIX:  20,  Foxglove 
Street,  Wormholt  Estate,  W.  12. 

THATCHER,  GEORGE :  33,  Denbigh 

Street,  Belgrave  Road,  S.W.  Victoria 
2060. 

TOD  MALCOLM,  The  Kinema  Club,  9, 
Gt.  Newport  St.,  W.C. 2. 

TREE,  MADGE  :  15,  Lancaster  Court,  New¬ 
man  St.,  W.i.  Museum  7241. 

WALCOTT,  ARTHUR:  57.  Church  Street, 
Kensington,  W.8.,  or  The  Kinema  Club, 
9,  Gt.  Newport  St.  W.2.  Regent  630. 

WALKER,  CHRIS,  Kinema  Club,  or  43, 
Vicarage  Road.  S.E.  5 

WTLLIS,  HUBERT,  Mrs.,  29,  St.  Peter’s 
Square,  W.6.  Hammersmith  85. 


YORK,  CECIL  MORTON  :  Kinema  Club 
9,  Great  Newport  Street.  Regent  630. 
Two  Lines ,  12s.  6d.  per  thirteen  insertions, 
or  £ 2  5s.  for  a  year,  prepaid. 

Extra  lines ,  is.  per  insertion. 


“  rJ'HE  most  useful  column,  to  my  mind, 
and  one  which  I  would  like  to  see 
extended  to  embrace  all  artistes,  is  ‘Who's 
Where.’  Names  in  alphabetical  order, 
with  correct  addresses,  are  very  useful.” 

CH ALLIS  N.  SANDERSON. 


LEICHNERS 

WORLD 
RENOWNED 


Obtainable  from  all  Chemists 
and  Theatrical  Costumiers. 
Price  8d.  per  stick. 

If  any  difficulty  in  obtaining 
same  apply  direct  to 

Sole  British  Agents : 

VANITIES  LTD., 
15a,  Whitcomb  St. 

(Off  Leicester  Sq.), 

W.C.2 


GREASE 
PAINTS 

&  POWDERS 


THE 

Film  :  “  The  Hawk.” 

Director  :  Frank  Crane. 

Star  :  Chas.  Hutchison. 

Stage  :  Eleventh  week. 


Film  :  “  Out  to  Win.” 
Director  :  Denison  Clift. 
Stage  :  Preparing  scenario. 


Film  :  “  Mary  Queen  of  Scots.” 
Star  :  Fay  Compton. 

Director  :  Denison  Clift. 

Stage  :  Scheduled. 


Film  :  “  Old  Bill  Through  the  Ages.” 
Director  :  Thomas  Bentley. 

Stage  :  Scheduled. 


Film  :  “  Charley’s  Aunt.” 

Stage  :  Scheduled. 

Isle  of  Man  Films. — The  Manx  Studios 
Isle  of  Man. 

Not  working. 

Milton. — Weir  House,  Broom  Road, 
Teddington.  Kingston  1617. 

Studio  closed  for  structural  altera¬ 
tions. 

Minerva  Films. — 110,  Victoria  Street 
S.W.  1.  Victoria  7545. 

Not  working. 

Napoleon  Films  Ltd. — 28,  Denmark 
Street,  W.C.  2.  Regent  975.  Semi¬ 
cofilm. 

Not  working. 

Progress  Film  Co. — Shoreham-on- 
Sea.  Shoreham  1 9. 


PULSE  OF  THE  STUDIO — Continued  from  previous  page. 


Quality  Films. — Windsor  Studios 
Catford.  Lee  Green  94  8. 

Films  :  One-  and  two-reelers. 
Director  :  George  A.  Cooper. 
Studio  Manager  :  S.  Folker. 
Cameraman  :  R.  Terreneau. 

Stage  :  One  a  week. 

Raleigh  King  Productions. — Wat- 

combe  Hall,  Torquay. 

Studio  Vacant. 

Regulus  Films. — 48,  Carnaby  Street, 
Regent  Street,  W.I. 

Not  working. 

Samuelson  Film  Co.— W orton  Hall, 
Isleworth. 

Film  :  Title  not  fixed. 

Type  :  Sporting  drama. 

Director  :  G.  B.  Samuelson. 

Stars  :  Rex  Davis,  Lilian  Ilall- 

Davies,  Josephine  Earle. 

Stage  :  First  week. 


oeai  productions.  —  171,  Ward 

Street.  Regent  4329. 

Not  working. 

Screenplays. — Cranmer  Court,  Cl 
ham.  Brixton  2956. 

Route  :  ’Bus  Nos.  5,  32,  6  7,  80. 

Trams  2,  4,  6,  8. 

Not  working.  , 

stolL— Tcmple  Road,  Cricklewo 
Willesden  3293. 

Route  :  ’Bus  No.  16. 

Studio  Manager  :  J.  Grossman. 
Film  :  “  Sherlock  Holmes  ”  Stori 
Director  :  George  Ridgwell. 
Star  :  Eille  Norwood. 
Cameraman  :  A1  Moise. 


Film  :  “  The  Sign  of  Four.” 
Director  :  Maurice  Elvey. 

Star  :  Eille  Norwood. 

Cameramen  :  Jack  Cox  and  A1  Moise 
Stage  :  Completed. 


Film  :  “  The  Wandering  Jew.” 
Star  :  Matheson  Lang. 
Director  :  Maurice  Elvey. 
Stage  :  Starting  shortly. 


Film  :  “  Guy  Fawkes.” 
Star  :  Matheson  Lang. 
Director  :  Maurice  Elvey. 
Stage  :  Scheduled. 


Films  :  Two-reel  dramas.  “  Fu 
Manchu.” 

Director  :  A.  F.  Colehy. 

Stage  :  Starting  next  week. 

Film  :  “  The  Tower  of  London.” 

Director  :  Maurice  Elvey. 

Star  :  Isobel  Elsom. 

Stage  Scheduled. 

J.  Stuart  Blackton. — Bush  House, 
Aldwych.  Central  1935. 

Walker-Boyd  Sunshine  Productions. 

Film  :  “  There  and  Back.” 

Director  :  Martin  Walker. 

Stage  :  Scheduled. 

Walter  West  Productions. — Princes 
Studios,  Kew  Bridge.  Chiswick 
574. 

Route  :  ’Bus  Nos.  27,  105. 

Broad  Street  to  Kew.:  A.m.,  8.2, 
8.20,  8.45,  9.0,  9.47,  10.17,  10.47, 

11.17,  11.47;  p.m.,  12.17,  12.47, 


1.17,  1.47,  2.17,  2.47,  3.17,  3.47 

4.17,  4.31,  5.3,  5.17,  5.32,  5.40 
6.2,  6.20,  6.50,  7.17,  7.47,  8.17 
8.4  7,  9.17,  9.30. 

Kew  Bridge  to  Broad  Street 
A.m.,  9.40,  10.8,  10.38,  11.8’ 

11.38;  p.m.,  12.8,  12.38,  1.8» 

1.38,  2.8,  2.38,  3.8,  3.38,  4.8,  4.38, 
5.5,  5.8,  5.10,  5.32,  5.50,  6.8,  6.20, 

6.38,  7.8,  7.38,  8.8,  8.38,  9.8,  9.38, 
Film  :  “  The  Hornet’s  Nest.” 
Director  :  Walter  West. 

Stars  :  Florence  Turner,  Kathleen 
Vaughan,  Nora  Swinburne,  Fred 
Wright,  and  James  Knight. 

Stage  :  Cutting  and  assembling. 


Film  :  “  The  Lady  Trainer.” 
Star  :  Violet  Hopson. 
Scenarist  :  J.  Bertram  Brown. 
Cameraman  :  G.  Toni. 
Director  :  Walter  West. 

Stage  :  Eighth  week. 


Film  :  “In  the  Blood.” 

Director  :  Walter  West. 

Stage  :  Commencing  March  1st. 

Welsh  Pearson. — 41-45,  Craven  Park 
Harlesden,  N  W.  10.  Willesden  2  862 
Route  :  ’Bus  No.  18. 

Film  :  “  Tip-Toes.” 

Star  :  Betty  Balfour. 

Director  :  G.  Pearson. 

Cameramen  :  Percy  Strong  and 
Emile  Lauste. 

Scenarist  :  George  Pearson. 

Stage  :  Sixth  week. 


Printed  and  Published  bv  ODHAMS  PRESS  Ltd.,  Long  Acre,  February  10,  1923 


Scanned  from  the  collection  of 

Dave  Kenig 


Coordinated  by  the 

Media  History  Digital  Library 
www.mediahistoryproject.org 


Funded  by  a  donation  from 
Russell  Merritt